In Initiative, a group of young people in the early 2000s finds themselves via the role-playing game, the latest example of its undying popularity

It sounds like a big ask, the idea of presenting an audience with a five-hour play. (Or even a four-and-a-half-hour play with several intermissions.) Yet Initiative, a new off-Broadway coming-of-age epic of sorts, flies right by, as emotionally immersive as the Dungeons & Dragons games that enrapture most of its seven teenage characters. Playwright Else Went doesn’t seem worried about the show’s length. “It was very much part of the intent,” they said. (Went is non-binary and uses they/she pronouns.) “When you sit in the theater for long enough – without feeling like the thing that you’re watching is failing you – there’s a certain point that you cross as an audience member, where you enter a new type of commitment. And it is in that state that new things can happen, dramatically.”

Initiative certainly does new things with material that could have been familiar. It arrives, after a lengthy workshop period, at a time when Dungeons & Dragons seems resurgent in visibility, thanks in part to the Netflix smash-hit Stranger Things, which uses D&D players (and game-derived terminology) in its own ‘80s-set fantasy-adventure-horror story. (There’s even a Stranger Things prequel play on Broadway.) Initiative defies some of the cultural cliches about the game, starting with its setting; rather than a self-consciously retro ‘80s, it takes place during the early years of the millennium, following its characters between 2000 and 2004. More subtly but equally bold, the show doesn’t begin with a tight-knit nerd crew role-playing together before life pulls them in separate directions, a standard narrative for these types of stories. In fact, no one in the show plays the game until late in the first of three 90-minute acts, when Riley (Greg Cuellar) acts as Dungeon Master for his younger friends Em (Christopher Dylan White), Tony (Jamie Sanders), and Kendall (Andrea Lopez Alvarez). Eventually, they’re joined by Riley’s best friend Clara (Olivia Rose Barresi), who finds the game to be an unexpected escape from her self-applied academic pressure, romantic/sexual traumas, and the horrors of a post-9/11 United States.

In three thrilling works by Caravaggio, the same boy’s face crops up. As one – the astonishing Victorious Cupid – arrives in Britain, we ask: who was this anarchic model and muse?

The boy howls as his head is held down, a huge thumb pressing into his cheek as his father’s mighty hand holds him by the neck. This is The Sacrifice of Isaac and I am looking at it in the Uffizi Gallery, Florence, feeling distressed by how Caravaggio has so chillingly rendered the face of this suffering child from the biblical tale. It looks as if Abraham, who has been told by God to kill his son, could break his neck with just one twist. Yet Abraham’s preferred method is with the silvery grey knife he holds in his other hand, ready to slit Isaac’s throat. One thing’s for certain – whoever posed as Isaac for this astonishing work was a great actor. There is not just dread, shock and pleading in his darkened eyes but also grief that a guardian could betray him so utterly.

Standing in front of the painting, I know this is a real face, an accurate record of a young model, because the same boy – recognisable by his tousled hair and almost black eyes – appears in two other paintings by Caravaggio. In each, that richly expressive face steals the show. In John the Baptist, he looks mischievously out of the shadows while cuddling a ram. In Victorious Cupid, he grins with a hardness learned on Rome’s streets, his black feathery wings demonic, a naked kid running riot in a well-to-do house.

While we don’t necessarily need another film version of Bram Stoker’s story, Besson’s has ambition and panache, and Caleb Landry Jones and Christoph Waltz are perfectly cast

Perhaps there is no great enthusiasm out there for a new version of Dracula from Luc Besson, the French maestro of glossiness and bloat. And yet it has to be said: his lavishly upholstered vampire romance has ambition and panache – and in all its Hammer-y cheesiness, I’m not sure I wouldn’t prefer to it to Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, including one shot that appears to show a land border between France and Romania.

Christoph Waltz plays a witty yet careworn vampire-hunting priest – I can’t believe he hasn’t played this role before – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. So does the evil Count Dracula, played by the body-horror veteran Caleb Landry Jones with a mangled central European accent reminiscent of Steve Carell’s Gru from the Despicable Me comedies. This is a part that he too was born to take on.

The mightily stressful and incredibly close-to-the-bone BBC show traces the demise of four ancient worlds – and it’s wildly prescient stuff. Will we never learn?

Rome, 24 August, AD410. The empire that’s dominated Europe for five centuries is on the brink of collapse, its capital at the mercy of a barbarian leader. What do the people do? They do as they’ve always done. The rich scramble to hide their wealth. The poor run for their lives. The fateful decisions of a tiny number of power-obsessed men bring the mightiest civilisation on Earth to its knees. Sounds familiar? And yet. No one saw it coming … OK, apart from us, the hollow-eyed cynics of the future, watching the BBC’s latest iteration of a landmark series from the discomfort of our own civilisation’s real-time plummet.

The first, less-close-to-the-bone Civilisation aired in AD1969. An equally un-self-aware era when it was totally fine for a man in trilby and tie (Kenneth Clark) to chart western culture’s triumph over the barbarians. (Some may say: plus ça change.) Next, in 2018, came its well-intentioned successor fronted by Simon Schama, Mary Beard and David Olusoga. Which, like a weak emperor, was trying to be everything to everyone and thus, not unlike ancient Rome’s Honorius, suffered mixed reviews and plunging ratings. Now the sumptuous threequel strides into the arena, all fire, war, disease, disaster and slick Netflix-era dramatic re-enactments. It also comes, somewhat aptly, at a time of deep existential crisis within the BBC itself. Which in less ancient times was the instrument of another empire that fell …

One of the greatest stars of Jamaican reggae known for his 1969 hit Many Rivers to Cross and the film The Harder They Come

The singer and songwriter Jimmy Cliff, who has died aged 81, was one of Jamaica’s most celebrated performers. An itinerant ambassador who introduced the music and culture of his island to audiences across the world at a time when reggae was largely unknown, he was a pioneer with a distinctive high tenor voice whose themes of civil and human rights resonated with many.

The stirring optimism of his orchestrated Wonderful World, Beautiful People spent 13 weeks in the British singles charts in 1969, peaking at No 6, and his caustic Vietnam, in the same year, was a favourite of Bob Dylan’s that inspired Paul Simon to later record Mother and Child Reunion in Jamaica with the same backing band, after Dylan made him aware of it.

‘The control room buttons were upside-down ice-cube trays, one space suit had a dish-drying rack on it – and the special effects guy wrote the theme tune lyrics’

In 1970, I partnered with Dan O’Bannon, a classmate at the University of Southern California, on a senior student project. We wanted to make a science fiction movie inspired by Dr Strangelove and 2001. We had no money but we did have enormous ambition. Dan co-wrote it, and he was also its production designer and editor, and he acted in the movie, playing Sergeant Pinback.

Danielle Ward’s father-daughter sitcom has found its feet and is stuffed with sublime one-liners, acerbic wit, daftness, love and joy

‘How’s yer downstairs?” bellows West End Curls manager Rita (Sarah Hadland) at the scrunched-up ball of postnatal exhaustion that is Gemma (Aimee Lou Wood). “I had a C-section, Rita,” sighs Gemma from the depths of her (deeply) distressed leather jacket. “Remember?”

“Oh,” replies her boss, crestfallen. “The upstairs, then?” The upstairs, alas, is stuffed. Gemma’s norks are “in agony”, her lactation-based woes exacerbated by sleep deprivation and the fact that her insufferable berk of a mother is currently stuffing the spare room with statement cushions and endless unasked-for reflections on her butcher boyfriend’s cleaver. “It’s been three months now,” says Gemma, fixing Rita with a thousand-nappy stare. “It’s hell.”

Daddy Issues series two aired on BBC One and is available on iPlayer.

Home perched in Hollywood Hills, constructed for $37,500 and made famous by Julius Shulman photo, listed for $25m

The Stahl house – a paragon of Los Angeles mid-century modern architectural design – is for sale for the first time in the home’s history.

The cantilevered home, perched in the Hollywood Hills, hit the listings market this week. The asking price: $25m.

Aardman studios to put props, sets and storyboards on show for its 50th anniversary event at the Young V&A

Aardman studios is known around the world for its seamlessly animated stop-motion train chases, hacked “smart gnomes”, tea-consuming heroes and villainous penguins.

Now fans will get a behind-the-scenes look at the studio’s best-known projects and see how they went from rough ideas sketched out on a kitchen table to Oscar-winning films in a major exhibition at the Young V&A in east London.

The actor won best performance for BBC drama Gatsby in Harlem at the inaugural British Audio awards, while Nicola Coughlan’s narration of Juno Dawson’s Queen B clinched best sci-fi audiobook

Audiobooks narrated by Ncuti Gatwa, Nicola Coughlan and David Tennant were among those recognised at the inaugural British Audio awards, the “Speakies”.

Gatwa’s performance in the lead role of Gatsby in Harlem helped it emerge as one of Monday evening’s biggest winners: it took three major prizes including audio of the year. The reimagining of Fitzgerald’s The Great Gatsby also won best audio drama adaptation, while Gatwa took home the best performance award for what organisers described as his “remarkable poise and flair” in capturing Gatsby’s character.

The actor ran her own theatre company and was described by her daughter Emma as ‘feisty, outrageous, kind, loving and mischievous’

Jill Freud, a stage star who was also an inspiration for the character of Lucy in CS Lewis’s The Lion, the Witch and the Wardrobe, has died aged 98.

The news was announced by her daughter, Emma Freud, who wrote: “My beautiful 98-year-old mum has taken her final bow. After a loving evening – where we knew she was on her way – surrounded by children, grandchildren and pizza, she told us all to fuck off so she could go to sleep. And then she never woke up. Her final words were ‘I love you’.”

Amy Redford thanks fans for ‘love and support’ but takes issue with ‘AI versions of funerals, tributes and quotes from members of my family that are fabrications’

Robert Redford’s daughter Amy Redford has criticised the proliferation of artificial intelligence tributes to her father, who died in September, calling them “fabrications”.

Redford posted a statement on social media in which she thanked fans for their “overwhelming love and support”, adding: “It’s clear that he meant so much to so many, and I know that my family is humbled by the outpouring of stories and tributes from all corners of the globe.”

Musician and actor tells LA audience that doctors also found a hole in his heart requiring surgery

Donald Glover, who performs under the name Childish Gambino, has revealed he had a stroke last year which forced him to cancel world tour dates.

At the time the 42-year-old said he was dealing with an “ailment” after performing in New Orleans and had gone to a hospital in Houston, where he discovered he needed surgery. He subsequently postponed, then entirely cancelled the remainder of his US tour, as well as all of his UK, European and Australian dates, writing: “Unfortunately, my path to recovery is taking longer than expected.”

They wear Victorian dresses and make daring moves riding side-saddle. Photographer Constance Jaeggi on how she documented an all-female Mexican tradition

The prolific German actor – whose career ranged from camp cult cinema to European films and Hollywood – has died aged 81

• Udo Kier, German actor who starred in 200 films spanning Lars von Trier to Ace Venture, dies aged 81

From a newer, greener Top Gear to the greatest comedy of all time, here are the series Guardian readers most want back on our screens

As Line of Duty and Doctor Foster both return for new series, we asked what TV programmes you’d like to see revived next. Here are your responses.

This tale of one family’s six-year ordeal just highlights what an unserious country Britain became in that era. The cast, including Joseph Fiennes, are excellent

“My name is Nazanin. I do not know why I am here.”

“Everyone says that.”

The penultimate episode of The Black Swan continues to break barriers. Plus Alan Titchmarsh learns how to bake with Mary Berry. Here’s what to watch this evening

10pm, BBC Four
“A storm is brewing in Amira’s office …” This remarkable Danish documentary series by film-maker Mads Brügger (above) follows the work of steely corporate lawyer Amira Smajic and her dealings with gangs. In this penultimate episode, tensions are high as money launderer Fasar threatens to “crush you with my bare hands”. As the hidden cameras roll, Amira works to solve the crisis and deal with a violent confrontation, before a twist brings this series to its conclusion in the final episode. Hollie Richardson

He tries to play the stoic in this look at the incredible changes to disabled peoples’ lives that tech could bring. But the radical benefits of one piece of kit leave him visibly moved

If a celebrity wins Strictly Come Dancing, alongside the glitter ball trophy, they can expect the BBC to gift them a variety of vehicles for their newfound audience. Stacey Dooley rung in New Year’s Eve and presented a makeup challenge. Rose Ayling-Ellis got two documentaries and a guest spot on Doctor Who. Now, 2024 champion, comedian and self-declared geek Chris McCausland has his first major appearance: Seeing into the Future, a deep dive into the growth of AI and technology and what it means for him and others with sight loss.

Much of the action takes place in Silicon Valley where McCausland, who gradually became blind by his early 20s, explores whether the land of big tech could give him “a whole new level of independence”. We meet McCausland as he uses his iPhone to pick his clothes for the day. Holding up a navy shirt, the AI app – with an alarmingly human cadence – tells him it’s clean but has a few wrinkles he might want to iron out. Before voice-controlled smart assistants, McCausland used to have to cut the labels of each piece of clothing into a shape and use touch to work out what he was looking at. It’s a primer to any luddites watching of how far tech has already come and how, for many disabled people, such innovations aren’t just a fun thing to have – they’re life-changing.

Actor praises co-star in abominably reviewed Ryan Murphy legal drama, and claims show deserved more appreciation

Glenn Close has hit back at the critical mauling for her recent series All’s Fair. The actor stars in Ryan Murphy’s legal drama, which has received a string of zero-star reviews. In her appraisal, the Guardian’s Lucy Mangan described it as: “Fascinatingly, incomprehensibly, existentially terrible.” The series currently holds a 3% rating on reviews site Rotten Tomatoes.

According to Close, the main issue was the choice to air the worst three episodes first. “I personally think that the first three episodes were the weakest,” she told Variety. “That was a tough way to start. I’ve seen all nine episodes, and I think it actually adds up to something.”

Agents claim it can increase their clients’ profile and show off their human side. Is that your final answer?

For Monty Panesar, it was answering that Germany played their home football matches in Athens. For David Lammy, it was saying Henry VIII’s heir was Henry VII. And for actor Amanda Henderson it was responding with the name Sharon to a question about Greta Thunberg.

Panesar’s disastrous appearance on Celebrity Mastermind six years ago was used to taunt him this week by Australia’s cricket captain Steve Smith.

Genius and arrogance play leading roles in a new biography of the man who helped uncover the structure of DNA

Most people could tell you that Francis Crick, together with James Watson, discovered the double helix structure of DNA, and shaped our understanding of how genes work. Fewer know that Crick also played a key role in modern neuroscience and inspired our continuing efforts to understand the biological basis of consciousness.

Crick once said the two questions that interested him most were “the borderline between the living and the non-living, and the workings of the brain”, questions that were usually discussed in religious or mystical terms but that he believed could be answered by science. In his new biography of the Nobel prize-winning scientist, Matthew Cobb, emeritus professor of zoology at the University of Manchester, does an admirable job of capturing the rare thinker who not only set himself such ambitious goals but made remarkable progress in achieving them, radically remaking two scientific disciplines in the process.

The first scholarly biography in more than 100 years of the man who immortalised the Tudor court does not disappoint

Much of what we know, or think we know, about the court of Henry VIII comes directly from the paintings of Hans Holbein. There’s the famous portrait of the king himself – puffy, phallic and cruel, looking more like a murderer than a monarch. But there is also ascetic Thomas More, hiding his cruel streak behind fine bones, and sly yet thuggish Thomas Cromwell, with those shifty eyes and the beginnings of a double chin. “Hans the Painter” did the wives too – an appropriately sketchy drawing of Anne Boleyn, a saintly portrait of Jane Seymour who died after giving birth to Henry’s heir, and a pin-up version of Anne of Cleves.

It was this last portrait that caused an international incident in 1539 when Holbein was sent by Henry to the Low Countries to check whether Anne was pretty enough to be his next wife. Based on Holbein’s portrait, Henry committed to the marriage in absentia, only to be horrified when the actual Anne arrived on the Kentish coast, looking “nothing so fair as she hath been reported”. The union lasted six months.

True to his irreverent style, author of The True True Story of Raja the Gullible (and His Mother) thanks his psychiatrist, his gastrointestinal doctors and his drug dealers

Rabih Alameddine has won the National book award for fiction for The True True Story of Raja the Gullible (and His Mother), a darkly comic saga spanning six decades in the life of a Lebanese family.

The novel, which traverses a sprawling history of Lebanon including its civil war and economic collapse, is told through the eyes of its titular protagonist: a gay 63-year-old philosophy teacher confronting his past and his relationship with his mother and his homeland.

The return of Charlie and Lola; the second lives of trees; the dangers of time travel; a YA Bluebeard retelling and more

The Street Where Santa Lives by Harriet Howe and Julia Christians, Little Tiger, £12.99
When an old man moves in on a busy street, only his little neighbour notices; with his white beard and round belly, she’s convinced he’s Santa. But when Santa falls ill, other neighbours must rally round to take care of him. Will he be better in time for Christmas? This sweet, funny, acutely observed picture book is a festive, joyous celebration of community.

I Am Wishing Every Minute for Christmas by Lauren Child, S&S, £12.99
Twenty-five years after their first appearance, this delightful, engaging new Charlie and Lola picture book is filled with Lola’s excited impatience as she and her big brother get everything ready for Christmas.

A collection of columns by the German Booker winner reveals a keen eye for the details that mark the passing of time

Jenny Erpenbeck wrote the pieces collected in this compact yet kaleidoscopic book for a column in the newspaper Frankfurter Allgemeine Zeitung; published in German in 2009, they now appear in an English translation by Kurt Beals, following the immense success of Erpenbeck’s novel Kairos, which won the 2024 International Booker prize.

It’s interesting and instructive to reflect on what German newspaper readers made of the column in the early years of the new millennium, nearly two decades on from the fall of the Berlin Wall. For while Erpenbeck adopted some of the features of the form – apparently throwaway observations on daily life, such as minor irritation at the difficulty of sourcing proper splitterbrötchen, an unpretentious pastry now pimped for a more elaborate and wealthy clientele – she consistently enlarged and complicated it. Into that recognisable tone of ennui and mild querulousness with which journalists hope to woo a time-pressed but disenchanted or nostalgic readership, Erpenbeck smuggled metaphysics, politics and history.

Rebecca Lowman narrates a superb, claustrophobia-inducing plunge into a relationship descending from bad to worse

Halfway through Liars, the story of a new relationship that becomes a marriage, our protagonist, Jane, is asked by a neighbour: “Why are you with him?” It’s a question that has been on the listener’s mind for some time.

Jane’s partner, John, lies about his feelings, his financial status, where he is going and where he has been. He is chaotic, lazy, resentful, entitled and given to getting drunk and spending money he hasn’t got. At the start of their marriage, Jane’s career as a writer and academic is on the up, while John – a visual artist and aspiring film-maker – has hit a professional wall. Time and time again, he insists they move cities for better work opportunities, which soon puts a spanner in his wife’s working life. It comes as no surprise that, after their son is born, Jane is left to do the parenting while her husband absents himself from his responsibilities.

Available via Picador, 6hr 7min

Set to an on-the-nose soundtrack of Creedence Clearwater, an elite squad of soldiers are suitably unprepared for their large-toothed assailants in this jungle thriller

Aimed squarely and unabashedly at viewers who love soldiers, gore and dinosaurs – as well as dinosaurs goring soldiers – this adaptation of Ethan Pettus’s 2017 novel is deeply repetitive but weirdly watchable. Although shot in Australia with a mostly Australian cast sprinkled with a few American actors, it’s supposed to be set in Vietnam in the late 1960s as the US armed forces take on the Viet Cong.

But there are other forces to contend with, and we don’t just mean covert Chinese or Soviet operatives, although the latter do feature significantly here. It turns out a nefarious scientific experiment by one of the aforementioned factions has accidentally ushered a whole army of dinosaurs into the jungle and they’ve begun gaily munching their way through anyone who gets in their way. When one squad of Green Berets go missing, Colonel Jericho (Jeremy Piven, hamming it up lustily) assigns the elite Vulture Squad to go in and find out what happened. The troop are led by square-jawed Sgt Ryan Baker (Home and Away veteran Ryan Kwanten) who commands your typical assortment of grunts representing, as we’ll soon see, a range of intelligence quotients that make them ill-equipped to cope with the challenge they are about to face.

The US president has reportedly asked Paramount for a fourth instalment of the cop comedy starring Chris Tucker and Jackie Chan. Whether he wants an acting credit or has suddenly come over all inclusive remains to be seen

It is said that by 328BC, having made empires kneel to him, Alexander the Great wept … for there were no more worlds to conquer.

Similarly, having solved the Middle East and Ukraine issues with only a couple of technicalities to iron out and put an end to so many other wars as well, Donald Trump may also be tempted to sob at having run out of important tasks. And yet, just as he is about to kneel in anguish on the Oval Office carpet, he is apparently perking up at the thought of one more mighty challenge.

Blockbuster sequel Wicked: For Good has become the latest film to receive complaints about both the lack of colour and the inconsistent lighting

We all know the late-night slog of finding something to watch, flicking between streaming services until settling on a series someone mentioned at work. And then a few minutes later, you’re squinting, adjusting your lighting or playing around with TV settings – it’s a night-time scene and you’re unable to make out what’s going on. Prompting the question: ‘When did everything on screen get so dark?’

This question isn’t new, gaining traction after a few incredibly poorly lit battle scenes in the final season of Game of Thrones, with articles and posts popping up begging explanation, one Reddit user commenting: “If you need an article to defend that not being able to see shit is a stylistic choice, maybe the stylistic choice should be reconsidered.”

Actor who appeared in My Own Private Idaho, Blade, Armageddon and Dogville, as well as Madonna music videos and video games, died on Sunday

Udo Kier, the German actor who appeared in 275 roles across Hollywood and European cinema, including multiple films by Rainer Werner Fassbinder, Gus Van Sant and Lars von Trier, has died aged 81.

Kier died on Sunday morning, his partner Delbert McBride told Variety. The actor died in hospital in Palm Springs, California, his friend the photographer Michael Childers announced on social media. No cause of death was given.

Michel Simon, who steals the show in Jean Vigo’s 1934 masterpiece L’Atalante, was a soft-faced, gravelly voiced clown capable of tremendous pathos – and total chaos

Jean Vigo’s L’Atalante, his poetic and surreal 1934 romance about a young couple living on a canal barge, is one of the most beautiful, sensual films of all time. Dita Parlo and Jean Dasté play the newlyweds getting awkwardly accustomed to married life in close quarters, and their love story shapes the film. But it’s their bargemate, the uncouth Père Jules, played by Michel Simon, who steals the show: a well-travelled sailor speckled with tattoos, standing guard over a cabinet of risque and macabre curiosities, whose cabin teems with cats every bit as unruly as he is.

The Swiss actor Michel Simon was one of the most distinctive presences in 20th-century French cinema: a soft-faced, gravelly voiced clown capable of tremendous pathos, and true chaos. Charlie Chaplin called him “the greatest actor in the world”. He worked with the best European directors on some timeless films. As well as acting for Vigo, he played the timid man transformed by his affair with a sex worker in La Chienne (1931) and the incorrigible tramp in Boudu Saved from Drowning (1932) for Jean Renoir. He worked with Marcel Carné in films such as Le Quai des Brumes (1938), with Carl Theodor Dreyer in The Passion of Joan of Arc (1928), with René Clair, Marcel L’Herbier, Julien Duvivier, GW Pabst … even John Frankenheimer in The Train (1964). “When Michel Simon plays a part,” said Truffaut, “we penetrate the core of the human heart.” He spent five decades working in the cinema, starting out in the silents, and received his highest accolade, the Berlinale’s Best Actor award in 1967, for his role as an antisemitic peasant befriending a young Jewish boy during the war in The Two of Us (Claude Berri). Reviewing that movie, Renata Adler called Simon “an enormous old genius … the general impression is that of an immense, thoughtful, warm-hearted and aquatic geological formation”.

India’s prime minister among those paying tribute to celebrated actor whose career spanned six decades

Dharmendra, one of the most enduring stars of India’s Bollywood cinema, has died at the age of 89.

Born Dharam Singh Deol, but later known as Dharmendra, he rose to fame in the 1960s and became one of the most celebrated and popular stars of Indian cinema in a career that spanned six decades.

The Age of Disclosure is a new film featuring high-ranking government officials who claim proof of extraterrestrial life has been covered up

Director Dan Farah grew up with aliens. As a child of the 80s and 90s, pop culture was awash with extra-terrestrial sightings. “How can you be a kid watching movies like ET and Close Encounters, TV shows like The X Files, and not end up curious about whether or not we’re alone in the universe?” he said in an interview with the Guardian. “And whether or not the US government does, in fact, hold secrets from the public.”

Farah’s exposure to otherworldly beings in fiction kickstarted an interest that’s now morphed into a professional quest, and the subject of his documentary debut – The Age of Disclosure. Here, Farah makes the case that the United States has been hiding, for decades, a fount of information related to UAP (unidentified anomalous phenomena) – the acronym rebrand of the stigma-ridden UFO.

Polka theatre, London
This spellbinding adaptation uses a bulging dramatic toolbox of clever effects and manages to be both epic and intimate

Some children’s books – simple stories from familiar worlds – transfer to the stage without much creative heavy lifting. Philip Pullman’s fairytale of volcano scaling, talking elephants and “The Greatest Firework Show in the Galaxy” isn’t one of them. But with buckets of imagination and a sterling cast, Lee Lyford’s new production for six-to-12-year-olds is both epic and spellbindingly intimate. My seven-year-old guest, Artie, isn’t familiar with the book but is immediately enthralled and, at times, so far on the edge of his seat I fear he’ll collide with the woman in front.

Lila dreams of becoming a firework-maker like her dad; he isn’t so keen. So when he’s tricked into revealing the final secret to his craft – winning Royal Sulphur from a fire fiend atop a volcano – Lila’s off like a rocket, via jungles and pirates. Her friend Chulak, learning more about the dangers in store, goes in search of protective water with the king’s vociferous white elephant, Hamlet.

Tron theatre, Glasgow
There are jokes aplenty in Johnny McKnight’s panto update of Lewis Carroll’s Wonderland story, played with delirious daftness by an ebullient cast

More than the odd playwright has discovered to their cost that Alice’s Adventures in Wonderland is harder to adapt than they might suppose. Yes, Lewis Carroll’s children’s classic is rich in novelty, wit and delight. But yes, too, its structure is episodic and its protagonist lacks agency. Stuff just happens to Alice, one thing after another: colourful but not dramatic.

Carroll purists would surely disagree, but in Gallus in Weegieland, Johnny McKnight makes a better fist of it than most. His version might divert from the original with a story about a girl travelling from Glasgow’s bougie West End to working-class Dennistoun, where she falls in love with a boy-rabbit, but it also gives this Alice Pleasance Liddell a motivation and an adversary.

Sadler’s Wells, London
A trio of choreographers respond to Muhly’s vivid scores with works that veer from the meditative to the macabre

If you thought we had exhausted shows that were postponed by Covid, here is one more. The Composer series at Sadler’s Wells presents a night of new choreography set to the work of a single composer and this time it’s the turn of American Nico Muhly, no stranger to the world of dance.

Three very different choreographers tackle his music: Jules Cunningham, Maud Le Pladec and Michael Keegan-Dolan. The first two have broadly similar approaches. The dance listens closely to the endlessly imaginative textures of the score and chooses when to mimic – a shake of the knees to match a vibrato string, for example – and when to diverge.

Lyric Hammersmith, London
A sinister giant computer and a meat-eating headmaster have a sinister plan for shy Jack and his schoolfriends. Meanwhile, the Fairy Godfather has the hots for the dame

This is not your bog-standard Jack and the Beanstalk. In Sonia Jalaly’s version, the story has been picked up and dropped into a school in Hammersmith, run by the meat-loving monster Fleshcreep (John Partridge, who wears a salami-printed suit). There’s no giant either; just a colossus computer system hidden in the sky, built to wipe children’s brains of all their imagination.

It’s all good fun and games, but at times you long for a little familiarity. Still, with the truly wonderful Fairy Godfather (Jade Hackett) at the front and centre of this production, it would take a real Scrooge not to be taken in by all the festivity. Hackett combines wizardry with wisdom to serve up one of the most commanding turns I’ve ever seen on a panto stage.

Roles as EM Forster and a young, gay American dying of Aids in the 2018 play allowed an opportunity for deep personal and social reflection

In 2018 I had recently lost my mother, so I was looking for connections with the spirit. The Inheritance allowed me to talk about matters of the heart.

It was the world premiere at the Young Vic in London, so we were making something brand new, which is always thrilling. They’d already done a week’s rehearsal with another actor who had pulled out of what became my role. I stayed up all night reading Matthew López’s script before my audition. It was so gripping. I was nervous of Stephen Daldry going into the audition, as he has an enormous status and he’s very front-footed in the rehearsal room. I like to be in the background and find my way, so his working methods frightened me a little bit. But I put all of that aside to serve this story.

Southwark Playhouse Elephant, London
A rollercoaster accident leaves six choristers in limbo, each having to make their case for a second chance on Earth in this eccentric show

Well, this is a peculiar musical. Jacob Richmond and Brooke Maxwell’s cult hit, which began life in a fringe theatre in Canada in 2009, has the spirit of the circus woven into its fabric. It arrives in London, quirks and all, in a wonderfully eccentric production directed by Lizzi Gee.

A story about six high-school choristers sent spiralling to their demise from a rollercoaster is hardly the most conventional ground for an all-singing, all-dancing show. But as we travel with them into a space between life and death, where they are forced to compete for a second chance on Earth, the narrative gradually slips away from its morbid trappings and celebrates life.

Two members of the groundbreaking, politically revolutionary group talk about the state of hip-hop and the US government’s attacks on people of color

For the first time in 35 years, Billboard’s Hot 100 chart does not include a rap song among its top 40 hit records. Anyone who’s been listening to the music for at least that long can list myriad reasons why that’s now the case: all the beats sound the same, all the artists are industry plants, all the lyrics are barely intelligible etc. For hip-hop forefather Abiodun Oyewole, though, it boils down to this: “We embraced ‘party and bullshit’, my brother.”

Fifty-seven years ago, on what would have been Malcolm X’s 43rd birthday, Oyewole cliqued up with two young poets at a writers’ workshop in East Harlem’s Mount Morris Park (now Marcus Garvey Park) to form what would become the Last Poets, a collective of bard revolutionaries. They outfitted themselves in African prints, performed over the beat of a congo drum and advocated for populism in their verses. The group has had many configurations over the years, but Oyewole, Jalal Mansur Nuriddin and Umar Bin Hassan abide as the standout members. The trio is all over the band’s self-titled first album – which was released in 1970 and peaked at No 29 on the Billboard 200. Their follow-up album, This Is Madness, made them ripe targets for J Edgar Hoover’s Cointelpro campaign against the emerging figures the then-FBI director deemed politically subversive. Notably, Oyewole could not contribute to that album because he had been incarcerated for an attempted robbery of a Ku Klux Klan headquarters, serving two and a half years of a three-year sentence. (He was trying to raise bail for activists who had been arrested for striking back at the Klan.)

After getting dropped by a major label, the Leonard Cohen-influenced south Londoner kept going, and has now won fans in Rosalía, Sabrina Carpenter and more. But writing for the Bard is the best of all, he says

Three years back, Matt Maltese was in a casual co-writing session with some friends. Out of it came a song called Magnolias, a stripped back piano ballad about imagining his own funeral. “I didn’t think anything of it,” he says. “And then two years later, we heard some quite bizarre whispers that Rosalía had somehow heard it.” It was true: six months ago, Maltese was sent the Spanish pop star’s demo of the song. He tried not to get too excited, even when, a few weeks back, a blurred-out photo of a Rosalía album tracklisting appeared online. “On the WhatsApp group we were like: I think that says Magnolias!”

Magnolias ended up as the final track on Rosalía’s new operatic masterpiece, Lux: one of the most talked-about albums of the year, currently sitting in the UK Top 5. Maltese first heard the finished song the day the album came out, when he’d got back to London from a US tour. “I took a long jet-lagged walk and listened to the whole album to contextualise it. It’s extraordinary.” On Magnolias, Rosalía changed some words, he says, “and dramatised it incredibly. It’s exquisite. It’s a gift from someone, somewhere, that it fell into her lap.” It’s all anyone has wanted to talk to him about since. “I’ve had a lot of follow backs on Instagram,” he smiles.

OVO Hydro, Glasgow
Noah Sebastian’s vocals switch deftly from croon to scream to whisper, but the genre-hopping US metalcore band lack chemistry on the big stage

Melodic metalcore band Bad Omens are pulling out all the stops for their first UK arena headline tour. In the first five minutes, we’ve experienced huge riffs, pillars of fire and supernatural horror-inspired visuals. Formed in 2015, the US band found mainstream success in 2022 with their third album The Death of Peace of Mind, which embraced the kind of hooky pop songwriting and complex storytelling that made the band irresistible on TikTok. Although their fourth studio album is yet to be released, this tour represents their graduation to the same league as genre titans Bring Me the Horizon, who they supported last year. Opener Specter is enough to justify this step up: an anthemic recent single as atmospheric as the dry ice crawling around frontman Noah Sebastian.

Although tonight’s set list is rooted in metal, it showcases the band’s ambitions towards other genres, incorporating elements of industrial, electronica and drum’n’bass. This fluid approach is anchored by Sebastian’s supremely adaptable vocals, which switch from croon to scream to whisper, even deftly mimicking the flow of metal princess Poppy during their collaborative single VAN. Dying to Love is pleasingly gothic, Nowhere to Go is relatively perky pop punk, and Impose finds commonality between breakbeats and double-kick metal drums. Drummer Nick Folio deserves a particular mention for balancing visceral crunch with expansive resonance. The band’s willingness to lean into zeitgeisty pop sounds is key to their mainstream appeal: The Death of Peace of Mind is reminiscent of the gloomy R&B of the Weeknd, by way of Bring Me the Horizon – all falsetto and moody beats with heavy metal drops.

Irish indie acts used to be ignored, even on Irish radio. But songs confronting the Troubles, poverty and oppression are now going global – and changing how Ireland sees itself

On a hot Saturday afternoon at Glastonbury, while many are nursing halfway-point hangovers, the Dublin garage punk quartet Sprints whip up a jubilant mosh pit with their charged tune Descartes, Irish tricolour flags bobbing above them. As summer speeds on, at Japan’s Fuji rock festival, new songs from Galway indie act NewDad enrapture the crowd. Travy, a Nigerian-born and Tallaght-raised rapper, crafts a mixtape inflected with his Dublin lilt, the follow-up to the first Irish rap album to top the Irish charts. Efé transcends Dublin bedroom pop to get signed by US label Fader, and on Later … With Jools Holland, George Houston performs the haunting Lilith – a tribute to political protest singers everywhere – in a distinctive Donegal accent.

From Melbourne to Mexico City, concertgoers continue to scream to that opening loop on strings of Fontaines DC’s Starburster, and CMAT’s viral “woke macarena” dance to her hit single Take a Sexy Picture of Me plays out in festival pits and on TikTok. You might have heard about Kneecap, too.

Musician’s Brixton and Dublin performances go viral after she performs Sinéad O’Connor’s anti-racism anthem Black Boys on Mopeds

The UK and Ireland are entering a “dark time”, according to the singer Joy Crookes, who said the influence of far-right ideology on mainstream politics was comparable to the 1970s when the National Front was at its peak.

Crookes, who has just played two sold-out shows at the O2 Academy in Brixton, said the recent wave of nationalism and the far-right march through central London in September made her feel unsafe in the UK.

(Modern Love)
The producer’s second album is a granular dissection of cumbia rebajada, forcing the listener to focus on the strangeness of every moment in her ambient soundworld

Mexican-American producer Delia Beatriz, AKA Debit, has a talent for making historical sounds her own. Her 2022 breakthrough, The Long Count, featured woozy, ambient soundscapes made from electronically processed samples of ancient Maya flutes. On her latest record, Desaceleradas (Decelerated), Beatriz turns her attention to the 90s trend of cumbia rebajada. Slowing the Afro-Latin dance genre of cumbia to a sludgy tempo, cumbia rebajada is a dub-influenced take on a typically upbeat, party-driven sound. DJ Gabriel Dueñez popularised the style with his bootleg cassettes; two of his earliest releases now form the basis of Beatriz’s experiments.

Landing somewhere between composer William Basinski’s Disintegration Loops and DJ Screw’s chopped’n’screwed production style, Desaceleradas slows the shaker-rattling, synth syncopations of cumbia rebajada into unrecognisable ambient territory. La Ronda y el Sonidero and Vinilos Trasnacionales contain hints of the signature cumbia shuffle and twanging synth melody, but Beatriz’s added tape hiss, reverb and melodic warping transform the style into an eerie, ethereal soundworld of nightmare fairground music and yearning drones.

(Mass Appeal)
The first release since the death of their founding member dwells on the afterlife, yet doesn’t forsake their perpetually sunny sound

Cabin in the Sky, the tenth album by De La Soul – and first since the 2023 death of founding member Trugoy the Dove, AKA Dave Jolicoeur – is, loosely, a concept album about death and the afterlife. A spoken-word intro by actor Giancarlo Esposito primes you for something heavy, but you are instantly reminded, of course, that this is a De La Soul album: it seems practically impossible that their brand of lackadaisical, perpetually sunny plunderphonics could ever feel like a drag. The lush strings of Yuhdontstop introduce an album that’s always projected in full-saturation Technicolor: from the effervescent Natalie Cole sample on Will Be to Maseo’s jovial, avuncular ad-libs that open Cruel Summers Bring Fire Life!!, Cabin in the Sky feels warm and rich in vitamin D, a tonic for chillier months.

For the most part, the afterlife theme seems to have been tacked on, likely after Trugoy’s death; the album still features his vocals, and most of the songs on the album fit squarely in De La Soul’s already established surrealist world. (Patty Cake, a minimalist highlight, reinterprets classic schoolyard chants, a conceit that somehow hasn’t already been done on a De La Soul record.) Even so, lasting more than 70 minutes, Cabin in the Sky can feel like a slog, with the end lacking the sprightliness of the album’s first half. An exception is the title track, on which Maseo and Pos pay tribute to Trugoy and others they’ve lost. It’s pensive and world-weary, but never loses its sense of magic.

Musicologist Peter Wollny chanced upon the manuscripts in 1992 and authenticating them took half of his lifetime

The best fictional detectives are famed for their intuition, an ability to spot some seemingly ineffable discrepancy. Peter Wollny, the musicologist behind last week’s “world sensational” revelation of two previously unknown works by Johann Sebastian Bach, had a funny feeling when he chanced upon two intriguing sheets of music in a dusty library in 1992.

His equivalent of the Columbo turn, from mere hunch to unravelling a secret, would take up half his life.

Various venues, Huddersfield
World and UK premieres launched the opening concerts of this compelling gala of new sounds, mixing precise ensemble play with electronic tracks and unlikely percussion sound effects

To the uninitiated, November may not seem the ideal time for a trip to Huddersfield. I arrived to find the Pennines under a thick blanket of cloud and the temperature hovering around zero. So it’s just as well that music is a largely indoor pursuit: since 1978, autumn here has meant the annual influx of big names in experimental and avant garde music for the Huddersfield Contemporary Music festival. Once a draw for postwar heavyweights including Karlheinz Stockhausen, Olivier Messiaen and John Cage, the HCMF remains the UK’s largest international festival dedicated to new music, with more than 30 world and UK premieres on this year’s programme.

The opening night featured three. In Huddersfield Town Hall, London-based Explore Ensemble sat in a pool of spotlights, the magnificent Victorian space made intimate. A new version of Canon Mensurabilis by Lithuanian composer Rytis Mažulis saw repetitive shimmers of microtonal dissonance interrupted by sparse octaves and fifths. The performance’s astonishing precision blurred the line between acoustic sound and an electronic track that gradually took over. Bryn Harrison’s The Spectre … Is Always Already a Figure of That Which is to Come worked a still more persuasive magic. Opening with what sounded like a creaking seesaw scored for chamber ensemble, shards of acoustic material were followed by ghostly echoes on a prerecorded electronic track. There were beautiful details – rough shivers of violin tremolo, flutters of bass clarinet, pedal-washed piano circling – but the work’s ultimate payoff came in its longer arc. The feedback loop gradually reversed so that the musicians responded to their electronic counterparts – the process of haunting complete and utterly compelling.

(LPO)
Recorded live at the BBC Proms, Edward Gardner and the London Philharmonic Orchestra’s propulsive performance, with soloists Allan Clayton, Jamie Barton and James Platt, is one to cherish

The Dream of Gerontius may be the unlikely star of Alan Bennett’s The Choral, but it’s hardly in need of a popularity boost: Edward Gardner’s vibrant new recording is one of three released in the last two years, with another due in January.

Recorded live at the 2022 BBC Proms, this propulsive reading has a great deal going for it. Allan Clayton captures the febrile nature of the dying man whose every sensation is both a terror and a fascination. His heroic tone thrills in the great prayer, Sanctus Fortis, while an expressive use of text illuminates the philosophical question and answer session in Part Two. Jamie Barton’s luxurious mezzo-soprano possesses a tangible immediacy as well as offering ample reserves of comfort. James Platt’s craggy bass is well-suited to the Angel of the Agony.

Symphony Hall, Birmingham
Soprano Helena Juntunen brought Sibelius’ vocal works to dramatic life in a remarkable concert that paired the Finnish composer with late Shostakovich

Sibelius and Shostakovich shared a gift for lyric storytelling, lending cohesion to this evening of musical narratives at Symphony Hall, from the frosty myths and legends of Finland to the gnomic utterances of the Soviet composer’s final symphony.

Osmo Vänskä has decades of experience where Sibelius is concerned, so it was unsurprising that these meticulous interpretations felt lived in. What was remarkable, however, was the way the Finnish conductor drew out the groundbreaking qualities in some of the more conventional works. This was particularly apparent in the central movement of the Karelia Suite where the warmth of the City of Birmingham Symphony Orchestra’s strings was underpinned by a folk-inflected harmonic pungency, or in the outer movements where intricate countermelodies that sometimes go unnoticed were revealed.

The use of AI in the surprise game-of-the-year contender has sparked a heated cultural and ethical debate, and raised existential questions for artists, writers and voice actors

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Arc Raiders is, by all accounts, a late game-of-the-year contender. Dropped into a multiplayer world overrun with hostile drones and military robots, every human player is at the mercy of the machines – and each other. Can you trust the other raider you’ve spotted on your way back to humanity’s safe haven underground, or will they shoot you and take everything you’ve just scavenged? Perhaps surprisingly, humanity is (mostly) choosing to band together, according to most people I’ve talked to about this game.

In a review for Gamespot, Mark Delaney paints a beguiling picture of Arc Raiders’s potential for generating war stories, and highlights its surprisingly hopeful tone as the thing that elevates it above similar multiplayer extraction shooters: “We can all kill each other in Arc Raiders. The fact that most of us are choosing instead to lend a helping hand, if not a sign that humanity will be all right in the real world, at the very least makes for one of the best multiplayer games I’ve ever played.”

Forty years ago, the Nintendo Entertainment System dominated the markets in Japan and the US. But in Europe, a technologically superior rival was making it look like an ancient relic

There’s an old maxim that history is written by the victors, and that’s as true in video games as it is anywhere else. Nowadays you’d be forgiven for thinking that the Nintendo Entertainment System was the only console available in the mid-to-late 1980s. If you were brought up in Nintendo’s target markets of Japan and North America, this chunky contraption essentially was the only game in town – the company had Mario after all, and its vice-like hold on third-party developers created a monopoly for major titles of the era. But in Europe, where home computers ruled the era, the NES was beaten by a technologically superior rival.

The Sega Master System was originally released in Japan in the autumn of 1985 as the Sega Mark III. Based around the famed Z80 CPU (used in home computers such as the Spectrum, Amstrad and TRS-80) and a powerful Sega-designed video display processor, it boasted 8kb of RAM, a 64-colour palette and the ability to generate 32 sprites on screen at one time – making the NES (based on the older 6502 processor) look like an ancient relic.

Activision; PlayStation 4/5, Xbox, PC
With a deafening onslaught of massive shootout set-pieces in exotic locations, an evolving campaign mode and excellent multiplayer offerings, this maximalist instalment of crazed carnage is a hoot

It seems like an anachronism now, in this age of live service “forever games”, that the annual release of a new Call of Duty title is still considered a major event. But here is Black Ops 7, a year after its direct predecessor, and another breathless bombard of military shooting action. This time it is set in a dystopian 2035 where a global arms manufacturer named the Guild claims to be the only answer to an apocalyptic new terrorist threat – but are things as clearcut as they seem?

The answer, of course, is a loudly yelled “noooo!” Black Ops is the paranoid, conspiracy-obsessed cousin to the Modern Warfare strand of Call of Duty games, a series inspired by 70s thrillers such as The Parallax View and The China Syndrome, and infused with ’Nam era concerns about rogue CIA agents and bizarre psy-ops. The campaign mode, which represents just a quarter of the offering this year, is a hallucinogenic romp through socio-political talking points such as psychopathic corporations, hybrid warfare, robotics and tech oligarchies. The result is a deafening onslaught of massive shootout set-pieces in exotic locations, as the four lead characters – members of a supercharged spec-ops outfit – are exposed to a psychotropic drug that makes them relive their worst nightmares. Luckily, they do so with advanced weaponry, cool gadgets and enough buddy banter to destabilise a medium-sized rogue nation. It is chaotic, relentless and stupidly pleasurable, especially if you play in co-operative mode with three equally irresponsible pals.

Pilar Corrias, London
The Iranian-born US artist cleverly uses AI-generated robot children to show she has had enough of women being treated like mechanical automatons for childbirth and care

What’s the opposite of perfect? Well, shit, according to Tala Madani. For years now the Iranian-born US artist has been painting Shit Mom, a fetid smear of a human figure intended as a subversion of feminine, maternal ideals. And in the painter’s latest show, Shit Mom has a new child in her care: she has adopted an AI daughter.

The rub is immediately obvious: the AI robot represents perfection; Shit Mom its impossibility. As they interact across the canvases, the gleaming mechanical perfection of the daughter – born motherless, hence the show’s title “Daughter BWASM”, or Born Without a Shit Mom – gets streaked with smudges of filthy brown. The more the mum cares for her daughter, the more she taints her. The robot can’t avoid getting moulded in her mother’s image.

In the pounding heat of a sweaty basement, revellers danced till 6am posing in lavish outfits and flexing their thigh-high boots. Liz Johnson Artur relives how she photographed the anything-goes spirit of this DIY oasis

For more than three decades, Liz Johnson Artur has photographed “the people I’m with” – a characteristically modest expression that belies the radiance, intimacy and unshowy brilliance of her pictures, an extraordinary archive numbering thousands of images that celebrate beauty, resilience, community and resistance. Intimate and alive, her photographs – often shot on the fly, in streets, nightclubs and living rooms – pull you right into the moment, just before it disappears for good.

PDA, the photographer’s latest book, celebrates a bygone London underground music scene. PDA was a popular queer club night that ran monthly in a Hackney basement from 2011 to 2021. The abbreviation PDA did not stand for a single phrase, apparently. Rather, the founders playfully suggested it could stand for many things, including Public Display of Affection, Please Don’t Ask, and even Pretty Dick Available.

Resin fruit peel, bronze bin bags and marble loo rolls are among the items of detritus being immortalised by artists – and fetching a high price

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On the second floor of Hany Armanious’s exhibition at Buxton Contemporary in Melbourne, a curl of tangerine peel lies on a shelf, its yellowing, pithy insides facing upwards. It looks as though it should be cleaned up, but it won’t be. The rind is not rubbish discarded by a careless visitor: it’s a perfect resin cast made by Armanious.

Placed carefully around the gallery are resin recreations of other items more commonly seen in bins: a group of melted candles, blobs of Blu-Tack, crumbly chunks of polystyrene. These might seem unlikely subjects for an exhibition, but Armanious is one of several artists who have turned their eye to trash in recent years. Gavin Turk, Ai Weiwei, Susan Collis and Glen Hayward, among others, all go to similarly painstaking – and often expensive – lengths to recreate items that most people would not look twice at. Trompe l’œil sculptures of rubbish have been exhibited in museums around the world and fetched high prices at galleries and auctions. In October, a pile of six garbage bags cast in bronze by Turk sold for £82,550 (roughly AU$167,000) at Sotheby’s in London.

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Move welcomed by critics, who have been calling for end to ‘morally unacceptable’ deals since 2016

The British Museum has ended a controversial sponsorship deal with a Japanese tobacco firm after reports that the government had raised questions about the deal, which some critics said was “deeply troubling”.

The Guardian understands that the museum’s board chose to not renew the 15-year partnership with Japan Tobacco International (JTI), which ended in September.

Borough Yards, London
This immersive riot of giant ferns, vine-tangled tree-trunks and sun-struck foliage dissolves in front of your eyes, but leaves you none the wiser about the natural world

Is it me, or is it hot in here? A jungle floats in the darkness on three big screens. Each depicts a riot of giant ferns, vine-tangled tree-trunks and sun-struck foliage in layered, dank profusion. With their jumbles of weathered rock, mossy wetness and tropical vegetation, you can lose yourself in these scenes. But, as I look, mist wafts over a patch of dense greenery as if someone out-of-shot were making with the plant spray.

I’m reminded of those unconvincing jungles in movies and on TV, where the plants have been trucked-in from some garden centre warehouse and arranged on set. Only the camera angles and clever editing stop us from recognising the artifice of it all. In the foreground on one of the screens, you can see rivulets crossing what appears to be a floor of waterproof matting. A small puddle is also forming at my feet. Either the film is leaking, though that seems unlikely, or water is dripping from the ceiling. Through the day, I’m told, the water slowly inundates the sheets of metal that cover portions of the floor, but I arrived too early for the flood.

From flood protection and encouraging wildlife to fixing doors and reducing fuel bills, a new initiative aims to empower residents and make their homes more comfortable

Link Road is home to an unassuming row of Victorian terrace houses in Edgbaston, but inside one of these two up, two downs, a domestic revolution is happening.

At No 33 Link Road, a property bought by community group Civic Square and named Retrofit House, it’s open week. Events include a series of talks, classes and performances – there’s a timetable pinned by the front door so you know when to head to the back bedroom to learn about biomaterials or into the garden for a workshop on mending doors.

The sportsman pretends to be a psychologist in a new show which sees him square up to his reality show pal. Plus, refugees share moving stories of hope

“This show is pseudopsychologist Joe,” announces Celebrity Traitors star Joe Marler as he introduces this weekly analysis of a different “client” (famous guest). “Pseudo meaning fake.” The first episode is a delight of an interview – with his “hundy P” Nick Mohammed. Be warned, though, it’s very much a video rather than audio experience. There are around six minutes of the show that rely on visual gags that don’t work for listeners. Alexi Duggins
Widely available, episodes weekly

After serving time in jail, actor Allison Mack opens up about her experiences in a group with links to sex trafficking. Plus, a deep dive into Jane Austen

Margot Robbie’s company to make movie based on Northern Ireland academics’ stories of poverty and prison

It started as a trawl of dusty archives for an academic project about female Irish emigrants in Canada and the US by two history professors, a worthy but perhaps niche topic for research.

The subjects, after all, were human flotsam from Ireland’s diaspora whose existence was often barely recorded, let alone remembered.