Holding/Holding On shines a light on the unheard voices of care experienced individuals and sector professionals and interrogates the way the sector and media talk about Scotland’s care system.

Found by snaking through Banksy’s Leake Street graffiti tunnel, The Vaults is home to a roster of immersive theatre and alternative arts. It is the perfect location for Mulan Rouge. This is a new ground-breaking show by artist ShayShay, visionary behind The Bitten Peach and Good Judy. ShayShay has merged the Disney classic Mulan with Baz Luhrmann’s Moulin Rouge for a riotous rollercoaster of self-exploration.

Key worker. It’s a phrase we’ve heard a lot of over the last twenty months. Peaking in search results in early March 2020, it took the eruption of a global pandemic for Great Britain to acknowledge the underpaid and undervalued angels on the front line. Rainer is a love letter to these essential operators—who stitch us up, ferry us around, and bring us reinforcements when we’re too hungover to move. In this 70-minute play, powerhouse Sorcha Kennedy is the titular Rainer.

It is a question that has divided opinion since the age of Ancient Greece: do you believe in love at first sight? Those amorous civilians fell head over heels with the notion that one glance is enough to be beguiled by one another. It is a well-known phenomenon that has been explored throughout popular culture, from Shakespeare’s plays to reality television shows. As told in Tim Fraser’s short play CANDY, Will (Michael Waller) has never believed in love at first sight...

It was the decade of Britpop, Beanie Babies, and Blockbuster (RIP). 90s Kids Only begins to the tune of Nirvana’s ‘Come As You Are’. The song, aptly released exactly 20 years ago, features juxtaposing lyrics which perfectly describe the surreal plot of this production from Laurentz Valdes-Lea and Spike Woodley.

Barb and Star Go to Vista Del Mar is a pastel action pastiche and an absolute riot from start to finish. The film begins like a scene from The Florida Project as a palette of pale candy colours fill the screen, only to be layered with the dulcet tones of the Bee Gees and Barbra Streisand’s ‘Guilty’.

From director Paul Feig, the brains behind comedy smash Bridesmaids, comes a new festive film that captures the essence of the holidays and steals your heart. It is warming, charming, and as camp as the season itself.

For 38 years, one wheeling and dealing Peckham family have dominated the comedy television scene, and in turn have defined British culture. Regularly topping polls for the best sitcom, Only Fools and Horses has truly engrained itself into the hearts and homes of the nation.

As jailbird Rose-Lynn Harlan (Jessie Buckley) bursts onto the screen, teasing prison officers and joshing with her fellow inmates, her quick wit, wild hair and thick Glaswegian accent precede her. The aspiring country (and not Western) singer is being released from Her Majesty’s pleasure and is determined to make a name for herself in the ~definitive~ music capital of the world that launched the careers of Dolly Parton, Shania Twain, and, erm… Billy Ray Cyrus.