Nick Richardson

How we look, and transform how we look, has been Ellen Gallagher’s preoccupation for the last twenty years. Throughout AxME, Tate Modern’s stunning retrospective, images of our mutable features – lips and eyes especially – recur with a frequency that suggests fevered obsession. A large, early painting, Oh! Susanna (1993), looks from a distance like an Agnes Martin abstract weave of dots and lines on a smudgy orange background, but is actually composed of tiny lips and eyeballs and the odd, disembodied Barbie’s head.

Earlier this year Jesse Norman claimed that so many Etonians end up in government not because they’re born into money and power, but because ‘other schools don’t have the same commitment to public service’. Boys at Eton are encouraged to run parts of the school, so ‘don’t defer’; they also study rhetoric, poetry and public speaking, which are ‘incredibly important to young people succeeding in life’. Norman failed, however, to mention the kind of all-important physical training that Edmund Marlowe puts at the centre of his new novel of Eton life, Alexander’s Choice.

Has Jesus got what it takes to join the X-Men? He has no shortage of superpowers, though a lot of them are one-offs: walking on water, turning water into wine, turning a few fish into a lot of fish. Probably the closest he has to a signature gift is healing the sick; but Wolverine can do that too, and Wolverine has adamantium claws.