Understandably, we often remember artists for the work that made them most recognised. But creative expression often doesn’t fit neatly into a single discipline, and naturally, many writers have engaged their imaginative impulses through other forms of art. Here are four celebrated authors whose visual art offers another window into their imaginations.
Sylvia Plath
Best known for her poetry and semi-autobiographical novel The Bell Jar, not many people know that Sylvia Plath was also a talented visual artist. Throughout her life, she produced detailed drawings and sketches, often depicting nature, landscapes, city streets and domestic objects.
Newspaper clipping of Sylvia Plath, August 26, 1953. Photo source: Wikimedia Commons
Antoine de Saint-Exupéry
French writer and aviator Antoine de Saint-Exupéry actually created the iconic illustrations accompanying The Little Prince. The book’s watercolour drawings, from the prince himself to the boa constrictor and elephant, have become inseparable from the story.
By Distributed by Agence France-Presse – NY Times online, via Wikimedia Commons
Kurt Vonnegut
Alongside novels such as Slaughterhouse-Five and Cat’s Cradle, Kurt Vonnegut developed a distinctive visual style characterised by playful line drawings and self-portraits. His illustrations frequently appeared in his later books, becoming part of his creative legacy.
Hermann Hesse
The Nobel Prize-winning author of Siddhartha and Steppenwolf was also a prolific painter. Hesse took up watercolour painting seriously during the early twentieth century and created hundreds of landscapes, many of which were inspired by the Swiss countryside he was based in.
Collective Voices Exhibition 2nd Edition: Being-in-the-World opened at Safehouse 1 in Peckham on 22nd of May, bringing together over 50 artists in a large-scale, artist-led exhibition exploring identity, visibility, and contemporary lived experience through multidisciplinary practice. Curated by Jenny Ping Lam Lin , with assistant curator Stephanie Leung, the exhibition continues the JustArt Collective’s commitment to creating accessible platforms for emerging and international artists.
Rather than functioning as a conventional themed group exhibition, Being-in-the-World operates as a shared curatorial space where individual voices are placed in dialogue rather than hierarchy. The result is an environment shaped not by a single narrative, but by a collective accumulation of perspectives, experiences, and artistic approaches.
International Collective
The exhibition features participating artists from the United Kingdom, Europe, China, Hong Kong, Japan, South Korea, Ireland, the United States and etc, reflecting a wide geographic and cultural range of practices. This diversity is embedded within the structure of the exhibition itself, allowing differences in medium, methodology, and cultural perspective to coexist without forced unification.
Participating artists include:
Aitor Moncho Tudanca, Abibat Adedayo, Anh, Anna Tuhus, Bahar Talebi Najafabadi, Baoyue Zhang, Baranika Sureshkumar, Chaeyeon Kang, Claire Moss, Claudi Piripippi, Esther/Zhilin Xiang, Galina Orlenko, Heather Green, Helen Carr, Henryk Terpilowski, Ikkonz Jin, Jingxi Li, Jingyun Guan, Jonathan Armour, Jordan Leung, Jose Luis Rodriguez, Josh Redman, Lara Gallagher, Mariia Timoshenko, Marvi Khan, Maryam Sandjari Hashemi, Mathijs Hunfeld, Mengzhu Li, Mollie Faye Harris, Mulin Qiao, Natalia Graczyk, Natalia Titova, Nataliia Makina, Neil Wheelock Deforest Smith, Peng Shuo, Persephone NG, Peter Léon, Pip Woolf, Puyi Guo, Qingran Liu, Rachel Larkum, Reeve Hart, Ruonan Shen, Scott O’Sullivan, Sen, Seoyoung Park, Seyda Alkin, ShEmAinn, Shinobu SENOO, Stela Brix, Tia Liu, Tianle Zhao, Tutu Tugce Sonmez, Victoria Julia Valentine (VJV Creative), Xiaoxiao Chen, Xiwen Xu, Yeejing Ooi, Yumeng Wang, and Zhan Shu.
Venue and Atmosphere
Photo by Carmen Yu, Exhibition view: 2/F.
Hosted at Safehouse 1 in Peckham, the exhibition occupies a space widely recognised within London’s independent art scene for its raw industrial architecture and experimental approach to exhibition-making. The venue’s stripped-back structure and open spatial layout play a significant role in shaping the viewer’s experience, encouraging fluid movement between works and allowing unexpected relationships to emerge between different artistic practices.
Rather than functioning as a neutral container, the space becomes an active part of the exhibition’s atmosphere. Its openness supports a sense of immediacy and shared presence, reinforcing the curatorial intention of collective engagement rather than isolated viewing.
Visitors and participating artists responded positively to the curatorial selection, spatial arrangement, and overall presentation, with many noting the strength of dialogue between works and the clarity of the exhibition’s collective vision.
Photo by Zhaojia Zhang, Opening Event on 22 May 2026.
Opening Event
The opening evening welcomed over 100 visitors and began with a live flute performance by Cathy Tsang, featuring BÄCK: Sonata for Solo Flute, 1st Movement and Wil Offermans: Honami for Solo Flute. The performance introduced a quiet, reflective atmosphere to the space, temporarily shifting attention from visual works into sound and embodied presence.
Photo by Carmen Yu, Opening event on 22 May 2026.
This was followed by an artist panel discussion introduced by curator Jenny Lin and assistant curator Stephanie Leung. Speakers included Josh Redman, Jordan Leung, Pip Woolf, Qingran Liu, Helen Carr, Victoria Julia Valentine, Tutu Tugce Sonmez, Mollie Faye Harris, Jonathan Armour, Seyda Alkin, and Stela Brix. The discussion explored artistic process, visibility, and the challenges of sustaining creative practice within contemporary cultural structures, while also highlighting the importance of collective infrastructure for independent artists.
Featured Works
Photo by Jenny Ping Lam Lin, Artworks by Maryam Sandjari Hashemi, Claire Moss (from left to right).
Among the works that drew sustained attention was Donkeyskin (2025) by Claire Moss, which reinterprets a Charles Perrault fairytale through a contemporary lens of escape, transformation, and queer identity. The painting follows a figure’s departure from an oppressive domestic structure into a natural, symbolic landscape, using fairytale imagery to explore autonomy and emotional liberation.
Photo by Jenny Ping Lam Lin, Artworks by Helen Carr.
Also widely discussed was Nige (2025) by Helen Carr, a mixed-media sculptural work constructed from papier mâché, acrylic paint, foam, fabric, and wire. Referencing 18th-century Lambeth Delftware, the work uses the motif of bed bugs as both a personal and political metaphor, linking domestic precarity and public health anxieties to wider systems of austerity and contemporary political tension.
Photo by Jenny Ping Lam Lin, Artworks by Johannes Christopher Gerard, Mariia Timoshenko, Claudi Piripippi, Galina Orlenko, Neil Wheelock Deforest Smith, Natalia Titova, Sen, Baranika Sureshkumar (from left to right).
Sen’s conceptual digital film Tactile Resilience (Pearl in the Palm, 2025) expanded the exhibition into a digital and sensory register. The work critically examines how capitalism and patriarchy construct and aestheticise modern womanhood, using experimental moving image to create a perceptual field of tension, reflection, and embodied viewing.
Curatorial Position
At its core, Being-in-the-World is structured around coexistence rather than resolution. It does not impose a singular reading but instead allows contradiction, overlap, and divergence to remain visible within a shared space.
In doing so, the exhibition raises broader questions about how artistic communities are formed, and how visibility, access, and representation are negotiated within contemporary cultural systems.
Photo by Jenny Ping Lam Lin, Exhibition view – G/F.
Conclusion
Collective Voices Exhibition 2nd Edition: Being-in-the-World demonstrates the potential of artist-led collective exhibitions as both cultural and social infrastructures. Through its international scope, multidisciplinary practices, and emphasis on dialogue, the exhibition presents not only a curated selection of works, but a temporary ecosystem of shared artistic presence and exchange.
Exhibition Information
Venue: Safehouse 1, Peckham, London Dates: 22–25 May 2026
Exhibition Team
Curator: Jenny Ping Lam Lin Assistant Curator: Stephanie Leung
Graphic Design: Jia Xi Zhou
Volunteers: Zhe Li Carmen Yu Zhaojia Zhang
Opening Performance
Cathy Tsang (Flute) BÄCK: Sonata for Solo Flute, 1st Movement Wil Offermans: Honami for Solo Flute
Panel Speakers
Josh Redman Jordan Leung Pip Woolf Qingran Liu Helen Carr Victoria Julia Valentine Tutu Tugce Sonmez Mollie Faye Harris Jonathan Armour Seyda Alkin Stela Brix
Best known as one of the most influential filmmakers of the twentieth century, Agnès Varda built a body of work defined by curiosity and remarkable playfulness. Before turning to cinema, however, she began her creative career as a photographer, cultivating the fiercely observational and empathetic eye that would come to shape her films.
Whether speaking about art, ageing, creativity or the joys of life, Varda had a real gift for expressing ideas with warmth and wit. On her birthday, we share five memorable quotes to remember her by.
“You have to invent life.”
“This is all you need in life: a computer, a camera, and a cat.”
Getting ready to host a big dinner party and want to offer your guests some entertainment, or simply hoping to flick through something mesmerising while sipping your morning coffee? Here are four visually exciting books to consider for your home.
The Story of Art Without Men by Katie Hessel
This Sunday Times bestseller, originally published in 2022, is a substantial art history book that reconsiders the traditional narrative by focusing on women artists who have often been overlooked, challenging the canon and blending critical insight with creative storytelling.
The premise of Why Cats Paint is absurdly wonderful. Silver’s book treats the smudges and accidental pigment trails of household cats as a legitimate artistic movement, complete with straight-faced analysis and artist profiles. It’s less an art book than an elaborate joke that takes itself just seriously enough to work.
Cabinet of Curiosities by Giulia Carciotto, Antonio Paolucci and Massimo Listri
In Listri’s Cabinet of Curiosities, the Florentine photographer’s large-format images of libraries, natural history collections and Wunderkammern capture the stillness of spaces built to hold everything humanity thought worth preserving. This one is designed to be experienced slowly.
Accidentally Wes Anderson by Wally Koval and Amanda Koval
Born from an Instagram account, Accidentally Wes Anderson collects real locations that seem to have been artistically directed by a filmmaker who had nothing to do with them. The appeal lies in recognising the unmistakable thread of the Wes Anderson-esque in pastel colour palettes, precise geometry and whimsical sparking, all while appreciating how the aesthetic associations are actually unplanned coincidences.
Tatiana Maslany shines in Maximum Pleasure Guaranteed, a fresh Apple TV dark comedy thriller about a struggling woman whose life just got worse. Circumstances involve a cam boy, blackmail, and a mysterious figure.
If that’s enough to catch your interest, you’re not alone. While the show premiered recently, it’s already generating online buzz. Reviews are positive as well, with both critics and audiences praising the series for its engaging pace and dedicated performances. Could that mean a second season is on the horizon?
Maximum Pleasure Guaranteed Season 2 Release Date
At the time of writing, Apple TV hasn’t officially renewed the series for more episodes. However, there’s no need to fret, as the show only has three episodes out so far. An announcement can still come somewhere down the line.
If all goes well, Maximum Pleasure Guaranteed season 2 could arrive sometime in 2027.
Maximum Pleasure Guaranteed Cast
Tatiana Maslany as Paula Saunders
Jake Johnson as Karl
Jessy Hodges as Mallory
Jon Michael Hill as Detective Baxter
Charlie Hall as Rudy
Kiarra Hamagami Goldberg as Geri
Nola Wallace as Hazel
Dolly de Leon as Detective Sofia Gonzalez
Brandon Flynn as Trevor
Murray Bartlett as Frank Budkin
What Is Maximum Pleasure Guaranteed About?
Maximum Pleasure Guaranteed centres on Paula, a recently divorced mother trying to hold her life together. She’s navigating a bitter custody battle, mounting financial stress, and an identity crisis.
As a form of escape, she spends time on cam sites. During one late-night video session with a charismatic cam boy, Paula witnesses what appears to be a violent crime. At first, nobody believes her. But when the cam boy suddenly contacts her demanding money, she realises she has become trapped in something far more dangerous.
Things only escalate from there. With three episodes available so far, it’s tricky to guess where the story might be heading. That said, the show is twisty and tense, hinting at a high-stakes conspiracy. Paula decides to investigate on her own, while also dealing with typical problems related to her job and family.
While Maximum Pleasure Guaranteed season 2 isn’t a sure bet just yet, the series looks promising, and the cast is to die for. If you’re looking for something to keep you glued to the screen, you can’t go wrong with this one. Episodes arrive weekly on Apple TV, with the finale scheduled for mid-July.
Are There Other Shows Like Maximum Pleasure Guaranteed?
If you’re into Maximum Pleasure Guaranteed, you might also enjoy Dead to Me, Big Little Lies, The Flight Attendant, Big Mistakes, and Only Murders in the Building.
Malta occupies a peculiar position in the European cultural imagination. An archipelago smaller than most capital-city suburbs, it has accumulated more UNESCO heritage density per square kilometre than almost anywhere else on the continent, hosted one of Europe’s most celebrated Capital of Culture programmes in 2018, and built a contemporary arts infrastructure that punches well above what its population of half a million would suggest. Valletta’s limestone grid holds Baroque cathedrals, a Renzo Piano parliament building, and a growing network of independent galleries and performance spaces that draw residency artists from across Europe. Outside the fortified walls, the Malta Carnival, Notte Bianca, and the international jazz and film festivals create a cultural calendar that runs for most of the year. What is less discussed in arts-and-culture circles, but increasingly relevant to how Malta funds that calendar, is the island’s parallel role as Europe’s most established hub for licensed digital entertainment operators, a sector that contributes a significant share of the economy and employs thousands of creative, technical, and compliance professionals who live alongside the artistic community.
That dual identity matters because Europe’s cultural-funding conversation is changing. Public arts budgets across the continent face pressure from competing fiscal priorities, and the countries that sustain cultural investment most effectively are often the ones that have found non-traditional revenue streams to supplement government grants. Malta’s digital-entertainment licensing sector generates direct tax revenue, supports a professional-services ecosystem, and creates a population of well-paid expatriate workers who consume local culture, rent studio space, buy gallery tickets, and attend festivals. Understanding how that economic layer interacts with the cultural one is not a detour from the arts story. It is part of it.
Malta’s licensing framework has also shaped consumer access in other European markets. Finnish users, for instance, rely on directories that compile mga kasinot to identify operators that hold Malta-issued licences and offer Finnish-language service. As Finland prepares to open its own licensed market in 2027, Malta-licensed operators are among the early applicants, carrying compliance practices refined over two decades of cross-border European operation.
Valletta’s Cultural Renaissance and the 2018 Legacy
When Valletta was named European Capital of Culture for 2018, the programme delivered more than 400 events and brought 1,500 artists from across the world to a city whose permanent population sits around 6,000. The programme was transformative not because of its scale, which was modest by London or Berlin standards, but because of its density. Every fortified street, every repurposed chapel, and every waterfront promenade became a venue. The Design Cluster, housed in a converted bakery complex, opened as a permanent co-working and exhibition space for creative entrepreneurs. The National Community Art Museum launched in a former residential building to make contemporary art accessible beyond the established gallery circuit. The 2018 programme ended, but its infrastructure stayed. Valletta today has more cultural venues per resident than at any point in its 450-year history, and the annual calendar has expanded to fill them. The Malta Arts Council disbursed 5.4 million euros through funding programmes in 2024, a figure that reflects both government commitment and the economic capacity to sustain it.
How Malta Funds Its Arts Through an Unusual Economic Mix
Malta’s economy is unusual among European microstates because it has diversified beyond tourism and financial services into sectors that generate high-value employment and steady tax revenue. The digital-entertainment licensing sector, which has been operating for over two decades, employs more than 10,000 full-time workers on the island, the majority of whom are expatriates drawn from across Europe. Those workers contribute to the local economy through housing demand, consumer spending, and participation in cultural life. The tax revenue generated by licensed operators flows into the general budget, from which arts and culture funding is drawn. This does not mean that the licensing sector directly funds the Malta Carnival, but it means that the fiscal base that supports public arts spending is broader than it would be if Malta relied solely on tourism and financial services. The Arts Council’s 5.4 million euro disbursement in 2024, the Design Cluster’s operations, and the subsidised studio-space programmes for emerging artists all depend on a tax base that the licensing sector helps sustain.
The Expatriate Creative Community and Cross-Pollination
One of the less obvious cultural effects of Malta’s licensing sector is the expatriate community it has created. Thousands of young professionals from Sweden, Finland, the UK, Germany, and Southern Europe have relocated to Malta for technology and compliance roles, and many of them bring creative interests and spending habits that feed into the local arts scene. Gallery openings in Valletta draw a noticeably international crowd. The independent music scene has grown in tandem with the expatriate population. Studio-space demand in the Sliema and St Julian’s corridor has risen as creative freelancers working adjacent to the tech sector look for workspace that doubles as exhibition space. The cross-pollination is informal rather than programmatic, but it is real. Malta’s contemporary arts ecosystem benefits from an audience that is more internationally diverse, more digitally literate, and more accustomed to paying for cultural experiences than the resident population alone could provide.
The Festival Calendar and What Sustains It
Malta’s cultural calendar is dense relative to the island’s size. Notte Bianca, held annually in Valletta, transforms the capital into an open-air gallery and performance space for one evening, drawing tens of thousands of visitors into streets that are normally quiet after dark. The Malta International Jazz Festival runs on the Grand Harbour waterfront. The Valletta Film Festival showcases Mediterranean and international cinema in venues that range from converted warehouses to open-air courtyards. The Malta Carnival, one of Europe’s oldest, fills the streets of Valletta and Floriana with floats, costumes, and satirical performances every February. Each of these events requires sponsorship, venue infrastructure, and audience. The sponsorship comes partly from government grants and partly from private-sector partners, including firms in the licensing and technology sectors. The venue infrastructure was expanded during and after the 2018 programme. The audience is sustained by a combination of local residents, tourists, and the expatriate professional community that the island’s tech and licensing sectors have attracted.
How European Capital of Culture 2031 Is Shaping Malta’s Next Chapter
Malta is already looking ahead to its next major cultural milestone. The selection process for European Capital of Culture 2031 shortlist in Malta saw Victoria, on the island of Gozo, shortlisted by a panel of independent experts in November 2025. The candidate has until summer 2026 to complete its application, with a final selection expected in September 2026. If Victoria is designated, the programme would bring a second wave of cultural infrastructure investment to the archipelago, this time focused on Gozo’s rural landscapes and smaller-scale creative community, and would extend the legacy of Valletta 2018 into the next decade.
The Mediterranean Creative Corridor: Malta, Sicily, and Tunisia
Malta’s cultural identity has always been shaped by its position between Europe and North Africa, and the contemporary arts scene reflects that geography. Collaborative projects between Maltese, Sicilian, and Tunisian artists have grown in frequency over the past five years, supported by EU cross-border cultural funds and by the physical proximity that makes a Valletta-Palermo or Valletta-Tunis trip shorter than a train ride from London to Edinburgh. The Mediterranean Creative Corridor, a loose network of artist residencies, gallery exchanges, and festival co-productions, has started to function as a distinct cultural zone that sits outside the Northern European art-market mainstream. For emerging artists, the corridor offers lower living costs, studio availability, and access to audiences that value craft traditions alongside contemporary practice. Malta sits at the geographic and logistical centre of that network, and its cultural infrastructure, built up through the 2018 programme and sustained by the broader economy, makes it the natural hub.
Music Touring and Malta’s Place on the European Circuit
Live music touring across Europe has recovered strongly since 2022, and Malta has started to appear on routing schedules that would have bypassed the island a decade ago. Recent coverage of major global tour announcements spanning Europe illustrates the scale of European touring in 2026, with artists routing through dozens of cities across the continent. Malta’s venues cannot compete with arena-scale stops, but the island’s mid-size spaces, such as the Mediterranean Conference Centre and the Granaries open-air venue in Floriana, have started to attract artists looking for intimate European dates that sit between the major-city runs.
Digital Culture, Streaming, and the Blurred Line Between Art and Tech
Malta’s dual identity as a cultural destination and a technology hub creates an environment where the boundaries between art and technology are unusually porous. Digital artists, VR experience designers, and interactive-media creators have found Malta appealing for the same reasons that technology firms did: a compact English-speaking environment with EU membership, reliable infrastructure, and a cost base lower than London, Berlin, or Amsterdam. The Arts Council’s Creative Industries Platform, launched to give creative entrepreneurs the skills and support needed to launch a business, sits at the intersection of these two worlds. It serves fashion designers and filmmakers alongside app developers and digital-media producers, and the shared workspace model encourages cross-disciplinary collaboration. The result is a creative ecosystem that does not draw hard lines between the cultural and the commercial, which is increasingly how the most interesting work in European arts is being produced.
What Malta’s Cultural Economy Tells Us About Sustaining the Arts
The broader lesson from Malta’s experience is that cultural sustainability depends on economic breadth. Islands and small states that rely on a single revenue source find it difficult to maintain arts funding when that source contracts. Malta has avoided that trap by building an economy that includes tourism, financial services, digital entertainment licensing, and a growing technology sector, each of which contributes to the tax base and to the professional community that supports cultural institutions. The 2018 Capital of Culture programme demonstrated that a small city can punch above its weight when infrastructure investment and audience demand align. The 2031 candidacy suggests that the model is replicable on Gozo, with different scale and different emphasis but the same underlying logic. For arts-and-culture audiences elsewhere in Europe, Malta offers a case study in how a place with limited space and limited population can build a cultural ecosystem that is internationally relevant, economically sustainable, and continuously evolving. The answer is not just government funding or private patronage. It is the combination of both, sustained by an economy diverse enough to keep the money flowing even when individual sectors cycle.
Whether used to cast coloured light through stained glass in architectural settings or transformed into striking sculptural forms, glass is a remarkable material in artistic practice. Here are four artists using glass in charming, innovative ways, pushing the material beyond its traditional boundaries and demonstrating just how expressive it can be.
Allister Malcolm
Allister Malcolm is a UK glassblower based in the historic Stourbridge glassmaking area, where he combines traditional hot-glass techniques with experimental approaches. He is also a resident artist at the Stourbridge Glass Museum, helping spotlight the region’s glass heritage.
New York-based artist Kristi Cavataro beautifully reworks stained glass into abstract, three-dimensional structures. Her looping forms appear more like sculptural objects or pieces of furniture than the windows and lamps audiences are more accustomed to associating glass with. Cavataro’s works feel unusual in the best possible way.
Dale Chihuly is internationally known for his large-scale blown glass installations, transforming glass into immersive environments, including dramatic ceiling pieces and towering sculptures in gardens and galleries. He has certainly helped popularise studio glass as a contemporary art form.
American artist Timo Fahler, currently based in Amsterdam, works with stained glass combined with salvaged industrial materials such as chain-link fences and metal grates. His pieces turn utilitarian surfaces into compositions with an edge.
From the tiger, known for its solitary power and striped camouflage, to the leopard, capable of dragging prey three times heavier than their body weight into trees, big cats are an utter joy to observe and learn about. It’s unsurprising that they’ve become some of the most magnetic subjects in wildlife photography and cinematography.
Here are three visual wildlife storytellers who have produced remarkable work spotlighting big cats:
Steve Winter
Steve Winter is recognised for pioneering the use of remote camera traps to photograph elusive big cats in the wild, among them tigers, jaguars and snow leopards. Working with National Geographic, he has helped redefine how unseen predators are visually documented.
Anna Dimitriadis is a BAFTA-nominated filmmaker and conservationist whose work on Big Cats 24/7 captures lions, leopards and cheetahs in high-drama natural settings. Dimitraidis’s work focuses on atmosphere and movement, and she is known for revealing rarely seen moments in big cat behaviour, particularly in the Okavango Delta.
Yashas Narayan is a wildlife photographer recognised for his intimate, field-based images of big cats within their natural landscapes. He is also an established guide specialising in Asiatic wildlife, particularly in South India, and has spent the last several years documenting tigers, leopards and black panthers across India.
There’s a new Spider-Man series to obsess over, and this one is set in the past. Starring Nicolas Cage as The Spider, Spider-Noir is an exciting mix of superhero shenanigans and classic black-and-white detective aesthetics.
In fact, the show is available on Prime Video in both black-and-white and colorised versions, so you can choose the one you like best.
Thankfully, that gimmick isn’t the only thing the show has going for it. The story is engaging, the performances strong, and the cinematography immaculate. Does that mean a second season is in the cards? Here’s what we know so far.
Spider-Noir Season 2 Release Date
At the time of writing, there’s no official news about a potential Spider-Noir season 2. That said, we’re cautiously optimistic. The show has strong reviews so far, and the general audience seems into it. Moreover, the creators are open to continuing the series.
“One of the magical things about any private detective story is, if you want another story, all it takes is another client to knock on that door, and then comes a new set of cases, a new set of problems and a new adventure to go one,” co-showrunner Oren Uziel told The Hollywood Reporter.
Star Nicolas Cage appears excited to dive deeper into the character as well. If all goes well, new episodes could arrive in a couple of years.
Spider-Noir Cast
Nicolas Cage as Ben Reilly / The Spider
Lamorne Morris as Joe “Robbie” Robertson
Li Jun Li as Felicia “Cat” Hardy
Karen Rodriguez as Janet Ruiz
Abraham Popoola as Lonnie Lincoln / Tombstone
Jack Huston as Flint Marko / Sandman
Brendan Gleeson as Finbar “Finn” Byrne / Silvermane
What Is Spider-Noir About?
Set in an alternate version of 1930s New York, Spider-Noir revolves around Ben Reilly, a burned-out private investigator and former masked vigilante known only as The Spider. Haunted by personal tragedy, Ben has abandoned his superhero identity and spends his days taking low-rent detective cases while the city sinks deeper into corruption.
However, a case drags him back into the criminal underworld. As Ben investigates, he uncovers a conspiracy involving illegal wartime experiments that created unstable superpowered individuals. At the same time, he confronts the past he tried to leave behind.
All episodes of the first season are streaming on Prime Video, culminating with an explosive finale that ties up many loose threads. Even so, there’s plenty of room to develop the story further if Spider-Noir season 2 becomes a reality. We’re keeping our fingers crossed.
Are There Other Shows Like Spider-Noir?
If you’ve enjoyed Spider-Noir, check out some of the movies that inspired it. Like The Maltese Falcon, The Lady From Shanghai, White Heat, Sunset Boulevard, or Crime Wave.
As we welcome summer, fruit begins to reclaim its place at the centre of daily life, gracing market stalls, decorating kitchen tables and filling picnic baskets for afternoons spent outdoors. Visual artists, too, have long been captivated by the appeal of fruit, returning to it time and again as a subject through which to express symbolic meaning.
Today, we’re sharing four iconic paintings that showcase the enduring charm of the genre:
Luca Forte, Still Life with Grapes and Other Fruit (1630)
A leading figure in seventeenth-century Neapolitan painting, Luca Forte was renowned for his lush depictions of flowers fruit. His artworks often celebrate nature’s bounty while reflecting the warmth of the southern Italian climate.
Luca Forte – Still Life with Grapes and other Fruit. Image source: Wikimedia Commons
Francisco de Zurbarán, Still Life with Lemons, Oranges and a Rose (1633)
One of the most celebrated still life artworks of the Spanish Golden Age, Zurbarán’s deceptively simple arrangement is admired for its extraordinary realism and mystical atmosphere.
Francisco de Zurbarán – Still Life with Lemons, Oranges and a Rose, 1633. Image source: Wikimedia Commons
Pierre-Auguste Renoir, Still Life with Peaches (1881)
Renoir’s treatment of fruit reflects his fascination with light, and wonderful artistic accuracy. In fact, Renoir’s depiction of peach skin is so velvety that critics of the 1882 Impressionist exhibition noted it verges on a trompe-l’œil (an optical illusion).
Renoir, Still Life with Peaches, 1881 Image source: Wikimedia Commons
Paul Cézanne, Still Life with Apples and Peaches (c. 1905)
Paul Cézanne returned to fruit frequently over the course of his career, using fruit like apples, pears and peaches to artistically experiment with form and colour.
Paul Cézanne, Still Life with Apples and Peaches, c. 1905. Image source: Wikimedia Commons
