The Canadian director set out to make a 90-minute snapshot of the trans experience before it ballooned in length and scope. Nevertheless, the film’s writer, director and star is confident of reaching the mainstream

When Louise Weard began shooting her debut film in 2023, she envisaged it as a snappy, 90-minute portrait of a group of queer and transgender friends in Vancouver. Now, Castration Movie, a crowdfunded camcorder epic made for less than C$60,000 (£33,000), runs four-and-a-half hours. And that’s just part one. When the entire magnum opus is finished later this year, Weard estimates it will clock in at more than 12 hours. Take that, Béla Tarr. Watch your back, Rivette.

Not that anyone could mistake Castration Movie for slow cinema. “It’s not as if I’m asking you to watch farmers in a field for 20 minutes,” says the 31-year-old director over coffee in an east London cafe. Indeed not: the first hour-and-a-half follows a budding “incel” as he sinks deeper into the manosphere. The narrative focus then switches abruptly to a trans sex worker, Michaela “Traps” Sinclair, played by Weard. Michaela’s abrasive exterior conceals a yearning for motherhood and intimacy; she may have the tongue of Joan Rivers and the decorum of Divine, but she’s as fragile as Edith Piaf. “People are always relieved when they find out I’m nothing like Michaela,” says Weard, whose background is in Canadian underground horror. “She’s the nightmare version of me.”

The tinned pulses based on cowboy drama Yellowstone might have been recalled on safety grounds, but fear not: you can always eat a tube of biscuits bearing Martin Clunes’ face…

First the bad news: this week the United States Food and Drug Administration recalled 4,515 cases of Yellowstone Brown Sugar Molasses Baked Beans after discovering that it did not disclose the presence of soy, an allergen that can have severe to fatal effects on sensitive consumers, in its ingredients. Shoppers from 23 US states are being urged to return their beans in exchange for a full refund.

But the good news is, you can get Yellowstone baked beans. How amazing is that? If you’re someone who enjoys watching Taylor Sheridan’s soapy western drama about the Dutton family enough to want to literally base all your meal times around it then, provided you don’t have a soy allergy, this is absolutely your lucky day. And the joy doesn’t stop there, because there’s also an entire website dedicated to selling various official Yellowstone food products.

Ahead of her 50th birthday this month, we rate the best tracks of the multi-hyphenate talent who, with Fugees and as a solo artist, blended soul, hip-hop and reggae with raw emotion and charisma

The closest their debut album Blunted on Reality came to a crossover hit, Nappy Heads is almost unrecognisable as the work of Fugees, who went on to sell millions of records. But it’s an of-its-era joy nonetheless, with a boom-bap rhythm and horns sampled from jazzy 70s funk.

As psycho-thriller The Surfer is released, the actor answers your questions about eating rats, loving pickled eggs and scaring Terry Wogan

What do you remember of that appearance on Wogan? What was Terry like in real life? Have you still got that leather jacket, and the snakeskin jacket from Wild at Heart? johnnysmooth, EddieChorepost and BigAl65
I remember Terry Wogan was a very nice man and I enjoyed the interview with him, although I thought I was both obnoxious and somewhat wild. I guess it’s no secret that I was promoting a movie called Wild at Heart, so I was sort of play acting to that. I remember, as a child, I was in a car, a guy was walking down the street, and he had a leather jacket on and no shirt on underneath. I thought: “Well, that’s an interesting look.” I don’t know why that came back to me when I went on Terry’s show, but I thought: “I’m going to create that look again.” It was incredibly absurd and irreverent. I don’t have that leather jacket any more.

I found the snakeskin jacket in a secondhand store on Melrose in Los Angeles called Aaardvark’s – it reminded me of the jacket Brando wears in The Fugitive Kind – and I knew at some point I was gonna put it in a movie. I ended up giving it to Laura Dern because she was such a terrific actor, I enjoyed our time together on that movie with David Lynch, so I wanted her to have it.

His role in This City Is Ours has had the Liverpool FC squad perform line dances with him, he’s wowed in Black Mirror and he’s bringing Bez’s life to screen. It’s all down to meeting his hero in a chicken restaurant

James Nelson-Joyce is still buzzing. Two days ago, he not only watched his beloved Liverpool FC clinch the Premier League title but led a celebratory dance with his heroes. “I ended up in the Anfield boardroom after the match, then partied with the team,” he grins. “The DJ clocked that I was there, played Andy Williams’ House of Bamboo and it all went right off.”

The 36-year-old Merseysider is now starring in BBC gangland thriller This City Is Ours, in which a local crime family perform a choreographed line-dance to the loungecore classic. “Harvey Elliott and a few other players dragged me on to the dancefloor and made me do it with them,” he chuckles in disbelief. “They all love the show, which is a huge compliment.”

The zoologist, now aged 97, is about to unveil Time Flower, his fantasy-fuelled film in which he pursues a woman called Ramona – who gave such a brave performance leaping off the bonnet of a car that he proposed to her

In the opening scene of Time Flower, a surrealist film by the zoologist Desmond Morris, a woman is lying facedown on the ground, clutching the grass with manicured hands and shaking her head. She is about to start running across a Wiltshire moor in elegant black heels, chased by Morris in a shirt and tie, her eyes wide, her lipstick dark, the angle of the shot emphasising her perfect, parted, panting mouth. Just before she trips and falls, a wild rabbit will stare straight at the camera – and flee.

This 10-minute black-and-white film, which Morris made in 1950 while he was a 22-year-old student at Birmingham University, has lain untouched in his archive for nearly 75 years. Created in response to Salvador Dalí and Luis Buñuel’s Un Chien Andalou, it is a testament to Morris’s early work as a surrealist artist. He exhibited alongside Joan Miró before he became a zoology broadcaster and the author of The Naked Ape.

An NHS worker received £28,989 after being compared to the Sith Lord because of a Star Wars-themed Myers Briggs test. But I’d rather be Darth than Obi-Wan

This is undeniably a bad time to be Darth Vader. A few weeks ago, Tony Gilroy revealed that Vader would not be appearing in his Andor series, despite fans assuming that he would play a significant part in its climax. A few days ago, the White House shared an AI-generated image of Donald Trump as a confusingly musclebound Sith Lord, subtly undermining Vader as the go-to Star Wars baddie. And now a woman has been awarded almost £30,000 for being compared to him.

Yesterday, it was reported that NHS blood donation worker Lorna Rooke had received £28,989.61 from a Croydon tribunal after complaining that a colleague had taken a Star Wars-themed Myers-Briggs Type Indicator personality test on her behalf online, and then informed her that her results aligned with Darth Vader. This upset Rooke and made her feel so unpopular that she resigned one month later. “Darth Vader is a legendary villain of the Star Wars series, and being aligned with his personality is insulting,” agreed the judge while announcing her verdict.

Ranging across metaphysics, comedy, grief and love, Mahler’s songs for voice and piano are works of exquisite delicacy that offer fascinating glimpses into his grand symphonic works, writes pianist Julius Drake

No orchestral season today is complete without a Mahler symphony. Three of them featured at last year’s BBC Proms, this year there’ll be four. Over a recent weekend in London, you could hear the first with the BBC Symphony Orchestra at the Barbican on a Friday and the following evening enjoy the epic glories of the eighth with the London Philharmonic at the Royal Festival Hall. Conductors from Boulez to Bernstein and Chailly to Rattle all have Mahler symphony cycles in their recorded catalogues.

And this month the Concertgebouw in Amsterdam hosts a grand Mahler festival. Across 10 days all his symphonies will be performed by world-famous orchestras and conductors, his unfinished 10th among them and also his “vocal symphony”, Das Lied von der Erde. “A symphony must be like the world. It must contain everything,” the composer famously said.

At least 10 of musical’s cast members will not participate in June show the president is expected to attend

At least 10 cast members from the current North American touring production of Les Misérables are choosing not to participate in an upcoming performance at the Kennedy Center in Washington DC, in order to boycott the anticipated attendance of Donald Trump, according to CNN.

Cast members were reportedly given the option to opt out of the 11 June show. The production has not publicly identified which individuals will not be performing.

The Song Is Over tour will serve as ‘a truly grand finale of their illustrious six-decade career’, the rock band said

The Who have announced a final farewell tour of the US and Canada.

The British rock band, who played their first American concerts back in 1967, will kick off The Song Is Over tour in August in Florida. The tour will go on to include dates in locations including New York, Toronto and Seattle before ending in Las Vegas.

The director has appointed the acclaimed Olivier, Tony, Bafta and Oscar winning talents to be the screenwriters for The Beatles: A Four-Film Cinematic Event

The award-winning British writers Jez Butterworth, Peter Straughan and Jack Thorne will pen Sam Mendes’ four Beatles films, it has been reported.

The four biopics, focusing on each member of the fab four, will be released in cinemas in April 2028 – with Paul Mescal playing Paul McCartney, Harris Dickinson playing John Lennon, Barry Keoghan playing Ringo Starr, and Joseph Quinn playing George Harrison.

RTÉ asks European Broadcasting Union for talks after 72 former contestants call for ban on Israeli broadcaster

Ireland’s public broadcaster has asked the European Broadcasting Union (EBU) for a discussion about Israel’s inclusion in the Eurovision song contest, as 72 former contestants called for the Israeli broadcaster Kan to be banned from next week’s event in the Swiss city of Basel.

The director general of Ireland’s RTÉ, Kevin Bakhurst, said in a statement on Wednesday that he was “appalled by the ongoing events in the Middle East and by the horrific impact on civilians in Gaza, and the fate of Israeli hostages”.

Grammy-nominated and chart-topping singer says he has ‘no fear’ of illness in kidney and lung

Brad Arnold, the frontman with chart-topping US rock band 3 Doors Down, has been diagnosed with stage four cancer.

The singer said he has kidney cancer that has spread to his lungs. He discovered the illness after feeling unwell in recent weeks, “then I went to the hospital and got checked out and actually got the diagnosis that I had a renal carcinoma that had metastasised into my lung”.

The women have accused Motown star of sexual assault and employment violations. His attorney has called the lawsuit ‘an ugly method of trying to extract money’

Smokey Robinson has denied allegations of sexual assault, after four former housekeepers of the Motown star filed a lawsuit with claims including sexual battery, false imprisonment, negligence and gender violence.

The suit was filed in a Los Angeles court on 6 May. It also alleges a series of labour violations, including that Robinson and his wife, Frances, failed to pay the women minimum wage and overtime, submitted inaccurate wage statements and created a hostile work environment. The women are seeking financial damages.

Harewood – who became the first black actor to play Othello at the NT in 1997 – will play the role at Theatre Royal Haymarket opposite Toby Jones as Iago

David Harewood is returning to the role of Othello almost 30 years after he became the first black actor to play the character at the National Theatre in London. He will do so opposite Toby Jones as Iago and Caitlin FitzGerald as Desdemona at the Theatre Royal Haymarket, directed by Tom Morris, this autumn.

Speaking to the Guardian after an early read-through for the West End production, Harewood described Othello as “a fantastically challenging piece of work” for actors. When the suggestion was made that he play the part again, it “lit the touch paper”, he said. “I couldn’t stop thinking about it.” He picked up a copy of the play and discovered: “It felt very fresh to me. Most of the lines I already remembered, which was extraordinary. They’re sort of imprinted in my brain.”

Locals welcome plan but fear being pushed out of homes by theme park

When it was announced that Universal Pictures, one of the largest movie studios in the world, was opening its first theme park in Bedfordshire, fans were ecstatic.

Social media was filled with questions: Which film franchises will appear? How many rides would there be? Will there be a section dedicated to the Minions?

Brooklyn Steel, New York

Stranger Things actor’s musical project has now gone from bedroom to the big stage and, while not all of it works, there’s energy to spare

By now, Djo is not a secret. The psychedelic electro-pop project led by Joe Keery, once an IYKYK solo bedroom-production artist, has reached the mainstream, making the festival circuit at Laneway, Coachella and Glastonbury. And Keery, an actor best known for playing foppish, helplessly winsome Steve Harrington on Stranger Things, has stepped out from the shadows of a persona initially meant to disguise his famous name; gone are the Scooby-Doo Shaggy-style wigs and costumes from Djo’s early performances, meant to dissociate any notion of the Upside Down from Keery’s longstanding interest in making music.

It worked, though in a manner befitting a preternaturally charming and thoughtful celebrity who seemingly courts good fortune: by accident. Djo, pronounced like his first name, blew up not because he was “the guy from Stranger Things”, but because he inadvertently caught a rogue wave of virality. End of Beginning, a synth-y, nostalgic ode to a past version of oneself, became a TikTok track, a million videos soundtracked to Keery’s wistful “and when I’m back in Chicago, I feel it”, largely without knowledge of the name. The song racked up more than 1.4bn streams in 2024, two years after its release on Djo’s second album, Decide.

Royal Concertgebouw Orchestra/Gardiner
(Deutsche Grammophon)
In recordings taken from live performances, John Eliot Gardiner conducts the RCO in taut and purposeful readings

Many years before he severed his connections with the period-instrumental ensembles and choir that he founded, John Eliot Gardiner had recorded the Brahms symphonies with his Orchestre Révolutionnaire et Romantique. In that Brahms Project in 2007 and 2008, he made a “reappraisal of Brahms’s sound world and ... the close link between the symphonies and Brahms’s choral works”. Returning to the works nearly two decades later in this new cycle, taken from concerts in which he conducted the Royal Concertgebouw Orchestra in their Amsterdam home in 2021 to 2023, his priorities were different: “To build on that seminal earlier experience and to extend its finding and interpretations to/in working with a modern orchestra”.

Certainly the contrast of sound worlds between the period strings and wind on Gardiner’s old recording and the plush richness of the RCO, one of the world’s great ensembles, is marked, but in many respects the performances are similar; there’s a litheness to the approach, a refusal to get distracted by subsidiary detail from the essential symphonic argument, and a sense of always keeping the structure taut and purposeful. In these performances, Gardiner manages to have his period-instrument cake and enjoy his modern-instrument refinement in a way that is totally convincing.

The 1975 novel might be barred from US schools and libraries, but it gets a hugely important telling here. It’s powerful, sweet – and with a cast as excellent as Heartstopper’s

A couple of years ago, Judy Blume noted that book banning was not only undergoing a resurgence in the US, but was at that point “much worse” than she had noticed during the 1980s. Blume is one to know: her 1975 novel Forever..., about teenage sex and desire, continues to be banned by school districts and libraries, as repression and censorship gallop on at a pace. This Netflix adaptation of Blume’s novel, which loses the ellipsis, is not only timely but important: through it, the story continues to be told, even if it is in a different medium.

This eight-part series, created by Girlfriends showrunner Mara Brock Akil, is sensitive and winningly sweet, while still managing to maintain its defiance and bite. It doesn’t so much update its source material as treat the novel as loose inspiration: details are shuffled around, extrapolated, nudged to the front and pushed to the back. But the spirit of it is intact. The central love story is now between two black students, Justin (Michael Cooper Jr) and Keisha (Lovie Simone) and set in Los Angeles, rather than New Jersey. It sets the action in 2018, neatly avoiding the enormously disruptive effects of the pandemic on teen life, while maintaining the dominance of smartphones, which it writes into the story with ease and authenticity.

The Place, London
This year’s festival launches with a multi-layered exploration of human connection from Korea National Contemporary Dance Company

K-pop, K-drama, K-beauty: South Korean culture is still so hot right now. How about K-contemporary dance? Not so mainstream maybe, but it’s happening, and it’s here, in an annual festival (launched in 2018) with six works across four cities over two weeks.

This opening night isn’t necessarily indicative of what’s to come: future shows include a Shakespeare rewrite with rock guitars (Ham:beth by Modern Table) and a meditation on monotony inspired by Sisyphus (Melancholy Dance Company’s 0g/zero grams). But this first show is the biggest, with the 16-strong Korea National Contemporary Dance Company, founded in 2010 and now under the direction of Sung-yong Kim, whose piece Jungle they perform.

(Warner)
Denigrated by some as the epitome of attention-deficit youth, the English pop musician became huge nonetheless – and her latest has an inspiringly free-associative feel

There’s something telling about the fact that PinkPantheress launched the first single from her second mixtape with a video boasting that it was 2:57 long. “Ion [I don’t] wanna see no more song length jokes,” ran the caption accompanying a brief video of her dancing to Tonight, a track that throws together a mass of musical reference points: a sample from US emo-rockers Panic! at the Disco stitched to a speedy four-to-the-floor house beat, a candy-sweet pop melody, a hefty bassline that suggests the influence of UK garage or drum’n’bass and a lyric that alludes to both Avril Lavigne’s Complicated and Kings of Leon’s Sex on Fire.

Since the English singer-songwriter-producer first came to public attention in 2021, by posting snippets of the tracks she had made on a laptop in her halls of residence to TikTok, brevity has been her calling card: most of the songs that caused her commercial breakthrough lasted barely 90 seconds; one, Attracted to You, was over and done in 67. They garnered hundreds of millions of streams. Moreover, they were the first steps on an impressive commercial ascent that’s involved a major label deal, a succession of gold and platinum awards, a place on the Barbie soundtrack and invitations from Olivia Rodrigo and Coldplay to support them on tour. Perhaps inevitably, they also attracted criticism from people who viewed her less as a success story than a symptom: wilfully insubstantial, attention-deficit music befitting an era in which pop has lost its place as the basic substance of youth culture, an age when its primary function is just to burble briefly in the background of videos offering makeup tutorials and wellness tips.

Reading Rep theatre
Three generations of soon-to-be-weds unload their emotional baggage into the Thames in Camille Ucan’s comedy

Jerome K Jerome was not kind about Reading in Three Men in a Boat. Sculling along the Thames, his narrator observes how the town “does its best to spoil and sully and make hideous as much of the river as it can reach” yet concedes it is “good-natured enough to keep its ugly face a good deal out of sight”.

Reading Rep, which co-produces this new comedy with Newbury’s Watermill, does not hold a grudge. Camille Ucan’s play is bookended by a rapturous quote about sailing from the 1889 novel and even has a skiff named after the author – although, as one character observes, Jerome “sounds like a bit of a twat”.

This look at cephalopods is a fun, enlightening tale. But given the Fleabag star’s astonishing gifts, it’s hard not to hope this is merely a stopgap to her next great project

A nature documentary on an order of cephalopods is probably not quite what Amazon had in mind in 2019 when it signed television’s hottest writing talent, Phoebe Waller-Bridge, up to a “golden handcuffs” deal worth $100m over five years. But here is Octopus! and quite how or why it came about will probably remain a mystery as deep and unknowable as any eight-armed creature disappearing into the crevices of the ocean floor ahead of a curious camera.

Ours is not to reason why, but to sit back and enjoy an idiosyncratic nature show, full not just of breathtaking footage of the extraordinary creature and input from experts in the field, but of animated, stop-motion recreations of parts of its life cycle, interviews with celebrity fans and plentiful comic asides and fourth-wall breakings from the narrator, Waller-Bridge herself. Describing one female great pacific octopus’s last few months collecting plentiful “sperm packets” from passing males, Waller-Bridge adds: “Legend.” When Ms Great Pacific chooses “Mike’s” packet”, Waller-Bridge explains that although he has “zero prospects, commitment issues and lives in a rough part of the ocean … he was the tallest, after all.” She – or rather Gabriel Bisset-Smith, who wrote the narration, which must also have Amazon execs rubbing their eyes and flicking through that deal contract again – plays too on the famous Fleabag line and comments, “This is not a love story.”

‘The guitar, the hair, the mystery – I think I captured who the Cure are with this picture. When I showed it to Robert Smith and the band’s manager, they jumped up and down’

I think this is the Cure image that’s most reproduced. I’ve met people with tattoos of it. It’s been bootlegged, like, millions of times. The bootlegs are rubbish, though – half the time someone’s obviously cut the stencil out with a scalpel, and it’s so crude.

This image was used for the cover of Boys Don’t Cry when it was rereleased in 1986. It was taken during the video shoot, which featured three boys playing the band when young. I used to just go to those shoots as a fly on the wall, grabbing shots where I could – you try to not get in the way.

‘It was great to get a song that’s entirely in Sanskrit on Radio 1. It has a power that’s beyond us. We’re just the vessels’

It’s not our song; it’s as old as the hills. The first time I heard it was in a Krishna temple as a kid. George Harrison was the first person I know of who recorded it – it’s the last track on 1971’s The Radha Krsna Temple album. We were all living together as a band in Swiss Cottage, London, and that record got played all the time. So I had it absorbed.

The musician on her love of cheesy R&B, hating karaoke ‘with a fiery passion’, and the people who have sex to her sister Norah Jones’s music

The first song I fell in love with
Tana Mana by my dad, Ravi Shankar. In the late 80s he was experimenting with synthesisers and released an album called Tana Mana, an anomaly in his discography. I remember my imagination would light up with the title song – I would picture a village dance, and I’d be acting it out in my living room for my mum.

The first single I bought
Whatta Man by Salt-N-Pepa. I was living in California in the 1990s and there was a lot of R&B around. I bought a lot of Salt-N-Pepa and TLC as a teenager.

Going back out on tour, the 13-time Grammy winner recalls stark inspirations and steamy studio sessions as she answers your questions

You’ve had a decades-long career. When did you first feel that you had “made it”? LondonLuvver
I wasn’t expecting to do music for a job. I was into social activism in college, and I just had music as a hobby. My boyfriend managed a bunch of blues artists and I asked if I could open for some of them – just to have fun and hang out with my heroes. Unbeknown to me, there really weren’t any women playing blues guitar and doing the mix of songs [I was], and I immediately got more offers of gigs and even a record company offer within about a year. That first gig I got under my own name, when I was 19, was a total surprise: that’s when I felt I had made it.

How was it growing up with a father [John Raitt] who was such a big Broadway star? Abbeyorchards7
He had hits in the 1940s with Carousel, and in the 50s with The Pajama Game. By the time I was 10 or 11, he was on the road touring in the summer – he loved taking Broadway shows out to the countryside. That influenced me a lot later when I decided to veer off from college and go into music: his love of travelling, of every night being opening night, and putting everything he had into every performance. And he was on tour basically until his mid-80s, so I think that had a tremendous influence on me: like, we can’t believe we get paid, and this is our job.

As the wrestler turned action hero turns 53, we count down his best movies – from Baywatch to Jumanji to that time he played the Tooth Fairy

Dwayne Johnson is about to violently switch gears. His next films include a Benny Safdie drama about an MMA fighter battling addiction and a true-crime drama produced by Martin Scorsese. The reason for this abrupt handbrake turn towards grownup film-making seems to be Red One; a duff Christmas action film. During its production, tales of Johnson’s backstage behaviour leaked out: the star was said to frequently be late, and would habitually hand his assistant bottles of urine rather than walk to the toilet. It was the biggest knock to The Rock since his career began. But onwards and upwards.

The human lie-detector is on the run across America – and using her skills to catch people out. Plus: VE Day celebrations with musical performances and a Dad’s Army revival

9pm, Sky Max
Natasha Lyonne’s cool crime caper was one of 2023’s most entertaining shows, following Vegas casino worker Charlie (Lyonne) whose ability to instantly detect when people are lying gets her in big trouble with bad people and sets her on the run. As season two starts, she is still being chased across America – but stopping to use her skill to solve a different “howcatchem” in every star-studded episode. Cynthia Erivo is a hoot as she plays quintuplets (or is that sextuplets?) after their wealthy mother dies and leaves everything to only one child. This week’s triple bill opener also features Katie Holmes and Giancarlo Esposito as funeral directors, with Charlie all the while dodging bullets. Hollie Richardson

Alicia Vikander stars as a tantrumming parent-tester in a creepy dystopian thriller, and Heath Ledger is magnetic in Christopher Nolan’s terrific Batman epic

In a post-climate disaster future where freedoms are restricted, Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are visited by an official for seven days of close observation to check their suitability to have a child. But Alicia Vikander’s Virginia isn’t just there to ask them intrusive questions; day two starts with her having a tantrum as if she were a toddler. In Fleur Fortune’s slippery psychological drama, the couple’s attempt at parental role play – while never really knowing if Virginia is being herself or not – turns into a tense game of manipulation, even exploitation. Vikander is the film’s chief delight as the murkily motivated visitor, but Olsen and Patel give as good as they get.
Thursday 8 May, Prime Video

Phoebe Waller-Bridge gives us an oddball love letter to the charming creatures, while Ewan McGregor and Charley Boorman jump on their motorbikes and head out on the open road for another grand tour

Phoebe Waller-Bridge’s post-Fleabag career has been somewhat eccentric and this two-part documentary, which she narrates and executive produces, is another left turn. It’s essentially an oddball love letter to the octopus – with its powers of transformation, bizarre mating habits and general air of underwater alien strangeness. But the series soon transcends its ostensible subject matter and becomes an exploration of some of the people who have devoted their lives to the celebration, study and preservation of these charismatic creatures. These include environmentalists, scientists ... and 30 Rock star Tracy Morgan, who is charmingly and volubly obsessed with them.
Prime Video, from Thursday 8 May

The 1-54 Contemporary African Art Fair returns this weekend to London, New York City and Marrakech. It remains the first and only fair dedicated to contemporary art from Africa and its diaspora and this year sees a total of 30 galleries and more than 70 artists. The show runs 8 to 11 May

When Tania Franco Klein began feeling unmoored and depressed, she realised many of her friends were in the same boat. Her photographs explore the peculiar unease of modern life

From spirituality captured on a smartphone to childhood photos conjured up by AI, the Photo London x Hahnemühle student award has unearthed some astonishing talent

Saint John boasts Canada’s largest oil refinery – and a huge gulf between rich and poor. Chris Donovan captured life in a city overshadowed by pollution

From daredevil swimmers in Tunisia to a rope-tricking Mexican horseman and a family get-together at a Californian river bar, the magic of the everyday is celebrated in LensCulture’s New Visions awards

Known as the ‘singing photographer’, Arlene Gottfried traversed her home city with a camera, capturing vibrant communities that no longer exist

A poetic new exhibition of dreamlike black and white images captures the country’s contemplative beauty, from lonely Torii gates to sprawling temple trees

Mark Cohen’s photographs of his daily walks in New York show the world viewed from the height of a child – revealing fresh threats, thrills and perspectives