That's Entertainment
Cosy up this November and enjoy the darker evenings.
TV: Blade Runner 2099 (Amazon Prime from 25th November 2026)
Set fifty years after ‘Blade Runner 2049’ in a Los Angeles where Replicants have won the uprising and now rule over humans, Cora, a fugitive, takes on one final identity as a Blade Runner. She reluctantly partners with Olwen, a dying Replicant Blade Runner, to hunt down a runaway whose secret could collapse the city’s fragile order. Created by Silka Luisa and executive produced by Ridley Scott. This eight-episode series explores whether humanity can be regained once lost, and what it means to be human in a world where humanity is no longer relevant.
Film: Being Heumann(in cinemas from 6th November)
Directed by Academy Award winner Siân Heder (CODA), ‘Being Heumann’ chronicles the true story of Judy Heumann, the "mother of the disability rights movement," as she leads a group of young activists in a historic fight against discrimination. Set primarily in 1977, the film centres on the 504 Sit-in, where Heumann and over 100 disabled protesters occupied a San Francisco federal building for 28 days, the longest such occupation in U.S. history, demanding the enforcement of regulations that would eventually pave the way for the Americans with Disabilities Act. Starring Ruth Madeley as Heumann alongside Mark Ruffalo, the film highlights not only the struggle but the joy and community forged in collective defiance.
Music: Tove Styrke ‘I Thought This Story Wasn’t About Me‘(out 6th November, Sony Sweden)
Tove Styrke’s fifth album is a concept record that earns the label. Set across a single dusk-till-dawn afterparty, ‘I Thought This Story Wasn’t About Me’ began as an observation of a fictional protagonist before Styrke realised she was writing about herself, a shift that prompted her to scrap the original title, ‘The Afterparty’.
Musically, it’s a deliberate departure from the sleek electro-pop of her earlier work, the album relies entirely on live instrumentation and vintage analogue synthesisers, no samples, creating a warm, organic texture that feels closer to an indie film score than a playlist-ready pop album.
At sixteen tracks, the album demands active listening rather than passive streaming; the sequencing matters, and the mood builds incrementally. It rewards that attention. This is Styrke’s most vulnerable and ambitious work to date, a slow-burn record about the discomfort of recognising yourself in a story you thought you were merely observing.Cosy up this November and enjoy the darker evenings.
