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Top Picks in Crime and Thrillers A selection of standout crime and thriller novels reviewed recently. Honey by Imani Thompson Honey by Imani Thompson (Borough, £16.99) centres on Yrsa, a young Black woman studying for a sociology PhD and teaching undergraduates at Cambridge. Irritated by her solipsistic, over-privileged students and tired of situationships, she’s fed up with life, and men in particular. Her first killing – that of a much older supervisor who reneges on his promise to leave his wife for a colleague, and steals her research in the process – is an accident, but Yrsa, who has catastrophically poor impulse control, enjoys the sensation and, more importantly, gets away with it. Quite Ugly One Evening by Chris Brookmyre Quite Ugly One Evening by Chris Brookmyre (Abacus, £22) features journalist Jack Parlabane, now 60, who feels increasingly like a “Boomer Ambassador” to the younger colleagues who are snapping at his heels. With his job on the line, he agrees to investigate a cold case: the death, 40 years earlier, of an MI5 operative. The Final Chapter by CB Everett The Final Chapter by CB Everett (Simon & Schuster, £18.99) is a metafictional tour de force: the story of literary superstar Jon Durward, who achieved critical acclaim, commercial success, well-regarded film adaptations and a Booker prize before he mysteriously disappeared in 2009. The Hollow Boys by Tariq Ashkanani The Hollow Boys by Tariq Ashkanani (Viper, £18.99) is set in Appalachia, a prize-winning Scottish author’s latest novel and a masterpiece of smalltown horror. The town of Aurora seems doomed – blighted by poverty, drug addiction, diseased crops, a mysterious beast that slaughters dogs and an underground coal seam fire that grows ever closer. Shrink Solves Murder by Philippa Perry Shrink Solves Murder by Philippa Perry (Hutchinson Heinemann, £18.99) features therapist Patricia Phillips, who lives on East Sussex’s South Downs with Dave the cat, and swims in the sea every morning. When her client Henry Clayton’s body is found below cliffs near the notorious suicide spot Beachy Head, the police assume he has taken his own life.

The Sentencing of Erik Fleming A Los Angeles judge on Wednesday sentenced Erik Fleming, a licensed drug addiction counselor, to two years in prison for his role in the death of the Friends actor Matthew Perry. The Role in Matthew Perry's Death Fleming, 56, acted as a middleman by delivering the actor the doses of ketamine that killed him in October 2023. He had pleaded guilty in 2024 to a count of conspiracy to distribute ketamine, and a count of distribution resulting in death. The Investigation and Other Defendants Fleming was the fourth defendant sentenced in the case. Five have pleaded guilty in prosecutions over the actor’s 2023 death. The five people charged in the case include two doctors, Salvador Plasencia and Mark Chavez; the actor’s assistant Kenneth Iwamasa, who injected him with the drug before his death; Fleming, an acquaintance of Perry’s; and Jasveen Sangha, the convicted drug dealer. The Impact of the Case The case highlights the dangers of illicit ketamine use and the importance of addressing addiction and mental health issues. Matthew Perry, who had a long history of struggles with addiction and mental health, was found dead in the Jacuzzi at his Los Angeles home. The Future Outlook The sentencing of Erik Fleming and other defendants in the case serves as a reminder of the consequences of distributing and using illicit substances. It also underscores the need for continued efforts to address addiction and mental health issues in the entertainment industry and beyond.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

Irish actor Barry Keoghan, known for his roles in various films and upcoming projects, has candidly shared the negative impact of online abuse on his life. In a recent interview with SiriusXM host Ben Harlum, Keoghan disclosed that the relentless online abuse about his appearance has reached a point where he “doesn’t want to go outside” anymore. Despite having left social media in 2024 to escape the harassment, Keoghan admitted that the abuse continues to affect him significantly. He expressed concern about how this online hate might influence his career and personal life, particularly his role as Ringo Starr in Sam Mendes’ upcoming Beatles tetralogy. Keoghan acknowledged that while many fans are supportive, there is a “nasty side” to online interactions. He mentioned that he often finds himself “shying away” from public events and feeling the urge to “hide away” due to the constant abuse and hate. This situation has become so severe that it’s affecting his willingness to continue acting, which could be disappointing to his fans. The actor also expressed worry about the potential impact on his three-year-old son, Brando, who may encounter these negative comments in the future. Keoghan emphasized the need to protect his child from the harsh realities of online abuse. Keoghan has been open about his difficult past, including his time in foster care and his mother’s struggles with drug addiction. Recently, he has been involved in projects such as Netflix’s Peaky Blinders: The Immortal Man and The Beatles: A Four-Film Cinematic Event, where he stars alongside Harris Dickinson, Paul Mescal, and Joseph Quinn.