Things to do in London today

A London Christmas staple, Carnaby Street’s lights are typically pretty special, illuminating the street with eccentric, fun-loving tributes from everything from rock bands to robins to outer space. Carnaby’s 2024 installation is named ‘Into the Light’, which promises a ‘first of its kind’ approach to festive lights in London. It uses 60,000 LEDs and programmatic lighting to create a ‘dynamic and immersive’ display with ‘sculptural light forms’ that stretch to six metres in length. What’s more, it's been created with sustainability in mind, and is powered entirely by green energy, and designed to be used for at least the next five years, although the technology can be adapted so we won’t necessarily be seeing the same displays each time, which is pretty darn neat! Find more Christmas lights in London Find more festive fun with our guide to Christmas in London

FEATURE: Why has the world gone crazy for Paddington Bear again? Though you can buy all of Michael Bond’s books in the gift shop, let’s be clear here: the Paddington Bear Experience has very little to do with the first 50 or so years of the marmalade-loving ursine’s existence. Rather, the lavish new central London immersive experience makes no bones about fact it’s a live extension of the world of the two (soon to be three) StudioCanal movies. Theoretically I suppose that’s a shame. Debuting in print in 1958, Paddington has a rich history and London’s first proper attraction dedicated to him doesn’t explore it at all. But who are we kidding here? The Paul King films are modern masterpieces, and Paddington would be left as a beloved but past-his-prime nostalgia character if it weren’t for them. He’d have his little statue at the station. But nothing like this. You don’t absolutely need to have seen the films, but there are countless callbacks to them in this gentle adventure, which essentially an immersive theatre show. As we begin by waiting at a small recreation of Paddington Station to board our train to Windsor Gardens, we’re serenaded by a pre-recorded version of the band from the films playing ‘London is the Place for Me’; when we make it to Windsor Gardens for this year’s Marmalade Day Festival, designer Rebecca Brower has faithfully recreated the entire downstairs of the Brown’s boho Notting Hill pad. And then of course there’s Paddington himself - constantly teased...

From Nov 20-Dec 23 Viola’s Room will be a Christmas edition subtitled A Christmas Tale. Punchdrunk are back! A phrase that feels less momentous this time than last time as it’s barely been six months since the immersive theatre leading lights’ previous show ‘The Burnt City’ wrapped up, as opposed to the seven year gap between that and predecessor ‘The Drowned Man’. ‘Viola’s Room’ is momentous in its own way, though. It’s the company’s first major show to not require the wearing of masks, a long term hallmark that Punchdrunk have apparently now ditched (though previous mask shows will likely be revived). It’s also smaller in scale than anything the company has done for years: once it starts properly it’s just 45 minutes long, for a maximum audience of six people (though there are numerous performances throughout the day), with no live actors.  I say that it’s smaller: ‘Viola’s Room’ is so disorientating that it’s impossible to really say what size space it takes place in. A few tightly-wound square metres? The whole of the company’s vast Carriageworks base? Could be either. ‘Viola’s Room’ is a show based upon Barry Pain’s dark 1901 short story ‘The Moon Slave’. Directed by Punchdrunk boss Felix Barrett, it has an actual text – a true rarity for the company – which has been adapted by Booker Prize-shortlisted Brit novelist Daisy Johnson and recorded by one Helena Bonham-Carter, whose half-whispered reading is played back to us in the headphones we don at the start of the...

Somerset House’s annual ice rink pop-up has long been one of the city’s favourite festive traditions, with thousands of Londoners and tourists alike making it part of their celebrations each year, and for good reason. Gliding (or nervously shuffling) around the rink, gazing upon the surrounding Georgian architecture and the courtyard’s magnificent 40ft Christmas tree feels like you’ve skated onto a movie set, ready to be watched by families settling in for their post-turkey food coma.  There’s more to this rink than just skating, though. Pop-up king Jimmy Garcia’s gourmet dining spot The Chalet returns, offering up a menu of Alpine-inspired treats including decadent cheese fondue, charcuterie plates, pommes aligot, crudités and a variety of festive small plates. Or you can really lean into après-ski vibes with a crisp glass rosé at Whispering Angel’s rinkside skate lounge.  And as usual there’ll be a variety of events to keep you entertained throughout the season. The ever-popular Skate Lates series is back, with DJ takeovers from the likes of Rinse FM, Daytimers’ Rohan Rakhit, Dankie Sounds, and Jay Jay Revlon. Or if you’re after a good old festive singalong, check out one of The Chalet’s all new Après Skate evenings, where you can enjoy a toasty gluhwine and a three course fondue feast with roaming entertainment throughout, followed by a chance to belt out some Christmas classics around the piano afterwards.  You can even combine ice skating with some Christmas...

What were you like as a teenager? Did you often find yourself crippled with social anxiety, blasting My Chemical Romance at full volume in your bedroom, back combing a side fringe to frightening new heights? Well, you were not alone. Championing what was arguably the last proper music-meets-fashion subculture, ‘I'm Not Okay’ is an audience-created love letter to all things emo, created in partnership with the Museum of Youth Culture via an open call to the internet for submissions.  If you were there, you’ll remember downloading the latest, pirated The Used album onto your iPod Classic, and using up all the storage on your Motorola Sidekick taking blurry gig shots and snapping your friends rocking smudged eyeliner and bright red, orange or black hair, all of which is documented on the walls of the Barbican’s Music Library.  The exhibition's main draw is a collection of photographs and video footage dredged up from forgotten MySpace and Bebo pages. There’s even a screen showing footage of people’s bedrooms, as they talk you through their Kerrang! poster collections and piles of dusty CDs, local gigs and snaps of friends messing around. It captures the community spirit that was an inherent part of the subculture Though the stereotype of an emo is a loner, the exhibition does well to capture the community spirit that was an inherent part of the subculture. Screenshots of MSN chats and MySpace profiles illustrate how these early social media platforms allowed people to make...

Alvaro Barrington is letting you in. He’s opening his arms, opening the doors to his childhood home, opening the windows into his memories.  To walk into the London-based artist’s Duveen commission is to walk into the Grenadian shack he grew up in. The sound of rain hammering on the tin roof echoes around the space as you sit on plastic-covered benches; you’re safe here, protected, just like Barrington felt as a kid with his grandmother. You’re brought into her home, her embrace. In the central gallery, a vast silver dancer is draped in fabrics on an enormous steel pan drum. This is Carnival, this is the Afro-Carribean diaspora at its freest, letting loose, dancing, expressing its soul, communing. You’re brought into the frenzy, the dance, the community. But the fun soon stops. The final space houses a dilapidated shop, built to the dimensions of an American prison cell, surrounded by chain link fencing. Its shutters creak open and slam shut automatically. This is a violent shock, a testimony to the dangers facing Black lives in the West: the police, the prison system, the barely concealed injustice.  After all the music and refuge of the rest of the installation, here, it’s like Barrington’s saying: ‘You want this? You want the carnival, the music, the culture? Then acknowledge the pain, the fear, the mistreatment, the subjugation too.’ I don’t think the paintings here are great, but painting’s not Barrington’s strong suit. He excels when he’s collaborating, sampling,...

Artists spent centuries making art about light – the divine rays of the Renaissance, the shimmering seascapes of Turner, the foggy hazes of the Impressionists – but it wasn’t until the 1970s that anyone really thought to make art with light. British artist Anthony McCall was one of the first, creating pioneering films that used projectors to trace shapes in the air, somehow seeming to turn nothingness solid. It was a trick that the world wasn’t ready for. His immersive, smoke-filled environments, shown in New York lofts, were met with relative indifference, so he left art behind for decades. But the world caught up, and a ubiquitous trend for immersive art in recent years has seen his work reappraised. Now he’s at Tate Modern, taking over the galleries that until recently were home to the blockbuster Yayoi Kusama ‘Infinity Mirror Rooms’. It’s a tough immersive act to follow. Kusama’s work is big, glitzy, selfie-friendly, but McCall’s isn’t. And in the wider context of London and its epidemic of heinous Klimt and Dali light shows, or even the good stuff like you see at places like 180 The Strand, can McCall’s simple, geometric films keep pace? It feels physical, like the light is hitting you slap bang in the face. After a room of sketches and an early film showing men in white overalls lighting fires at dusk, you’re plunged into darkness. The four light works here are quiet, ultra-meditative things, nothing more than shafts of white in a pitch black room. In the earliest...

Everyone’s got an opinion of Barbie. Whether you adored playing with her growing up, loathed her for her wildly unrealistic body measurements, or came to appreciate her for her cultural impact, there’s no denying the 11.5inch leggy blonde is one of the most famous toys – if not women – on the planet. Now one year after Barbie-mania had London in a chokehold, Barbara Millicent Roberts has once again tottered back into the capital’s collective conscience, this time via a Design Museum exhibition celebrating 65 years of the iconic doll.  The clothes, the handbags, the mansion, the seemingly perfect boyfriend. Barbie has it all. And so does this exhibition. It provides an extensive look into how the toy was designed, how she has evolved over the years, and how she has influenced fashion, design and wider culture. Created in partnership with Mattel, Barbie’s parent company, the show looks at the toy not just as a kicky blonde doll, but as a brand, and from a design angle it can be considered a real success.  In a dark room filled with rainbow-coloured windows we are taken on an odyssey of all of Barbie’s different head and body shapes. I died a little inside learning about the 1968 Stacey, Barbie’s British friend who had stubby eyelashes, a pasty complexion and a funny shaped head who, in a cruel joke, is lined up next to the bronzed original Malibu Barbie.  In a section dedicated entirely to Barbie pink, we discover that Barb wasn’t always obsessed with the colour, and that it...

While its permanent collections are showing their age now – that age being approximately 163 years – the Natural History Museum’s temporary exhibits are a world apart. Modern, witty, spacious and hi-tech: they’re a window into what might be if the NHM was refounded in the twenty-first century. ‘Birds: Brilliant & Bizarre’ doesn’t have an especially incisive story to tell beyond ‘birds are great!’ (It would be weird if it was ‘birds are terrible!’) but it is is, nonetheless, a beautifully put together journey through the story of our avian pals that mixes slick techy stuff with a thoughtful delve into the museum’s vast taxidermy vaults (if your archive includes an entire family of stuffed hummingbirds – including the nesting babies – you might as well give it a public airing occasionally). One great thing for younger audiences is that our feathered friends are an offshoot of dinosaurs - hence licence for the first quarter or so of ‘Birds’ to concern itself with their prehistoric ancestors, with particular attention paid to dino-bird crossover creature archaeopteryx. After that it’s an entertaining grab bag, a nicely laid out mix of… bird stuff, with a striking early piece being the gigantic stuffed albatross suspended from the ceiling with its gigantic fluffy chick under it. We’re told the mother was killed by a fishing trawler, which sets up the eco undertones of the rest of the exhibit. It’s not just about wacky bird facts, but the sense that these creatures’ lives are in...

Money can buy a lot of things, but it can’t buy taste. Luckily, Sir Elton John would probably know his art from his elbow even if he hadn’t become one of the world’s biggest, richest megastars. For decades now, he has been building a world class collection of photography with his partner David Furnish. It’s been shown all over the world, even at the Tate in 2017, and now it’s the V&A’s turn.  The exhibition is absolutely rammed full of iconic images by some of the most important names in photography: Diane Arbus, Robert Mapplethorpe, Juergen Teller, William Egglestone and on and on. Like you’d expect from a megastar, it’s pretty dazzling. The show is grouped into big overarching themes: fashion, reportage, desire, etc. The fashion bit runs the gamut from experimental Harry Callahan cut-outs to stark Irving Penn minimalist luxury via debauched guy Bourdin naughtiness and a beautifully tasteless portrait of Sir Elton’s bejewelled hands by Mario Testino. Style, glamour, cheekbones, cocaine; that’s fashion for ya.  Things get a little grittier in the celebrity section. There are famous images of Joni Mitchell, Ray Charles,Frank Sinatra, and three incredible photos of Miles Davis’s hands by Irving Penn. But this is where the cracks start to appear. Images of tragic figures are everywhere; Marilyn Monroe forlorn and lost, Chet Baker broken by drug abuse, James Dean beautiful and young, but not for long. Celebrity is a curse, a dangerous burden that can crush you just as readily...