V&A East Storehouse and Norwich Castle among finalists for museum of the year

The V&A East Storehouse, the National Gallery and an accessible castle in Norwich are among the contenders for this year’s Art Fund museum of the year award, the most prestigious UK prize in the sector.The annual prize offers the winner £120,000, with £20,000 going to each of the other finalists, who the Art Fund’s director, Jenny Waldman, said had all “innovated in different ways”.This year’s list is dominated by some of the biggest names in the cultural sector that have undergone big refurbishments or invested in significant new outposts, such as the V&A’s East Storehouse, which will be seen by many as a frontrunner.Based in the Olympic Park in Stratford, east London, the space aims to reimagine what a storeroom can be, with partitions removed so visitors can see “and breathe the same air” as the objects. Waldman said the V&A Storehouse, which opened in spring 2025 at a cost of £65m, had broken the boundaries of what a store could be

Letter: Sir Neil Cossons obituary

In 1971, Neil Cossons and I were on the staff of Liverpool Museum, and he invited me to accompany him on a visit to Ironbridge Gorge in Shropshire. We admired Blists Hill furnace, the bridge, the surrounding buildings and their setting, and shortly afterwards he became its director.The appeal it had as a monument to the industrial revolution lay in it being a complete entity. Many other site-based museums rely on translocating buildings, often into a replicated local landscape. History occurs in places, and Neil knew that raising one’s gaze from the built artefacts to the landscape enables understanding: preserving the place was crucial

‘Women want to experience pleasure’: how the female gaze caught the attention of film, TV and fiction

From passionate romantasy novels to premium television dramas, culture is bringing the agency, desires and interior lives of women to the fore. It’s proving good for business, but is this a permanent revolution?Do you voraciously read the pages of steamy romantasy bestsellers by Sarah J Maas or Rebecca Yarros? Or flood your group chat with breathless recaps of the latest goings-on in TV series such as Heated Rivalry or Bridgerton? Or even immerse yourself in the divisive and challenging cinematic worlds of Emerald Fennell? If so, you surely can’t have failed to notice that in pop culture, the female gaze – storytelling that highlights the meandering, textured, sublimely messy inner worlds and wants of women – is enjoying an explosion.On TV, you can see it everywhere, in the interior lives and desires taken up by Big Little Lies, Sirens or Reese Witherspoon and Kerry Washington’s Little Fires Everywhere. Romantasy harbours it in the shape of powerful maidens and sex in fae (fairy) realms, while Fennell’s Wuthering Heights and Promising Young Woman are marketed with the promise of converting women’s experiences into dark beauty on the big screen.A shift, a moment or a commercial juggernaut? That depends how deeply you look

Yann Martel: ‘I hate the rich people of this world – of which I’m one, because of Life of Pi’

Your novels Life of Pi, Beatrice and Virgil, and The High Mountains of Portugal all feature animals in starring roles. If you could be any animal, which would it be, and why?A sloth, because it has a peaceful, long life. Or maybe a koala. They both look like stoners. A sloth just hangs there in its tree, it sleeps 22 hours a day – or maybe it’s meditating

Kae Tempest on creativity and his gender transition: ‘I’m just glad to be alive’

Kae Tempest sidles into a pub near his house on a weekday afternoon and orders a pint of mineral water. At his side is Murphy, an enormous, 14-year-old alaskan malamute dog with startling blue eyes who settles down on the floor next to his master and goes to sleep. “He’s all right,” Tempest says. “He’s very friendly. He won’t even put his nose up

The Guide #239: Two successful seasons in, The Pitt has resuscitated the medical drama

After a wait more interminable than most spells in an A&E reception area, medical-drama-of-the-moment The Pitt finally made it on to UK screens last month, via the arrival of streaming service HBO Max, and just about everyone I know has spent the following weeks hoovering it up. Some, in fact, are already up to speed with its second season (the finale aired last night on US TV) and so are trying very, very hard not to blurt out major plot points at the office tea point/on public transport/in an actual hospital waiting room – we’re in a post-spoiler age, remember.I’ve been a little bit slower off the mark – mainly because it took so long to figure out if I actually had access to HBO Max as part of my bafflingly arcane Sky TV package – but I’m racing through it now, and so am ready to share the same observations that everyone else made weeks, or in the case of the US, a full year ago. The main one being: how did not one TV producer have the idea to mash together ER and 24 before? It was right there, staring you all in the face! (Jed Mercurio, whose forgotten 2015 medical drama, Critical, also had a real-time element, might have a finger raised in objection at this point.)Beyond The Pitt’s formal innovation (each season follows, to the second, a 15-hour shift at an under-resourced teaching hospital in Pittsburgh), what’s striking is how familiar it feels