Rightwing media personalities on X transmuted a screed against NPR’s CEO into a fight over encryption via the Transitive Property of Bad People

For nearly two weeks, an esoteric debate has raged on X, formerly Twitter: could users concerned about privacy and security trust the messaging app Signal, or was the Telegram platform a better alternative? X’s chatbot, Grok AI, described the trending moment as “Telegram v Signal: a crypto clash”.

Signal is an app for sending end-to-end-encrypted messages to individuals and small groups. Telegram offers broadcast channels and messaging but is not end-to-end encrypted by default. Debates over their relative merits have popped up over the years, though largely within the confines of online spaces inhabited by cybersecurity, cryptography, privacy and policy geeks. This time, the conversation came to broader attention – Elon Musk’s following of 183 million – due to X’s most notorious capability: mutating isolated facts into viral conspiracy theories for the entertainment of rage-riddled crowds. As a bit player, I got a ringside seat to the manufactured controversy.

The actor and his son on fun memories, toxic masculinity and Saltburn spoilers

Born in Barnsley, South Yorkshire, in 1974, Shaun Dooley’s acting career began on soap operas such as Coronation Street and EastEnders. Now a leading actor on film and TV, Shaun has mastered the art of complex characters and had roles in Broadchurch, Doctor Who, It’s a Sin, Black Mirror and as Michael Rudkin in Mr Bates vs the Post Office. He is married with three daughters and a son, Jack, 19, who is a camera trainee and a student at Manchester University. Shaun performs in Jez Butterworth’s The Hills of California at the Harold Pinter theatre until 15 June.

Long-distance couples meet for the first time, including a pair who started out in a Game of Thrones roleplay chatroom. It is bizarre but strangely sweet to witness

When the internet was invented nobody used their real names on it, and I am starting to wonder if breaking that covenant was a mistake. “Starting to wonder” – correction, I am fully sure that was an error. We need to go back to usernames – xX_tha_0rin0c0_Xx, that sort of thing – and anonymity and no webcams and, ideally, screeching 56k modems. The internet is too fast, too accessible, too always-on. Our phones can suck internet out of the sky and the idea of “logging off” is extinct. I am planning to start one of those one-topic political parties that always get obliterated at London mayoral elections about this, by the way, so keep your eyes out.

Anyway. As we all know, what Channel 4 excels at is documentaries that can be described as “sweet but weird”, and this week The Nevermets starts (Friday 24 May, 10pm), which is a classic of the genre. The Nevermets follows a series of, as narrator Dawn French keeps describing them, “ordinary Brits”, as they look at their phone screens and smile in bed. This is because they are all in love with someone across the world who they met in a chatroom or on Snapchat, or from extended Instagram or Facebook conversations, and – despite, in many cases, the couples professing to be in love with each other – they have never actually, you know, met. So we get to see them meet.

Ian Rankin’s mercurial detective is back in a fresh reimagining. Plus: more fun with Ncuti Gatwa’s Doctor. Here’s what to watch this evening

9.25pm, BBC One

John Krasinski and Ryan Reynolds go family-friendly in their new imaginary-friends comedy, while the singer swaps introspection for lust on her long-awaited new album

If
Out now
In what has to be one of the more enviable showbiz lives, John Krasinski has played Jim in The Office, married Emily Blunt, and written and directed acclaimed horror franchise A Quiet Place. Now he turns his hand to family entertainment, writing and directing this part-animated fantasy about imaginary friends made visible with a little help from Ryan Reynolds and Steve Carell.

Daf James’s life was upended when he and his husband adopted three kids – and he knew he had to write about it. As Lost Boys & Fairies hits the screen, the writer and cast talk about queer lives, Welshness and what makes a family click

Lost Boys & Fairies is not a true story. But like most drama and fiction, it draws heavily on the real-life experiences of the people who made it. Daf James, the Welsh playwright and screenwriter behind the story, also adopted three children with his husband when those children were aged between two and five. As in the show, he went to activity days to meet children who needed carers, got interrogated by social workers and had plenty of sleepless nights. So when we see his protagonist Gabriel getting hit in the head with a football by a seven-year-old in a Cardiff park, are we watching fiction here or reality?

“Everything I write is personally inspired,” Daf tells me, over Zoom from his attic bedroom, just minutes after we have both put our children to bed. “But I’ve learned how to adapt my lived experience into fiction. Andy is a fictitious character; the father is a fictitious character; the children are fictitious characters.” Andy, the saint-like husband of Gabriel, is played by Hawkeye star and Northern Irish actor Fra Fee, who tells me that his role in Lost Boys & Fairies was “genuinely the honour of my life”. It’s a statement that, like the show itself, hits a note of radical sentimentality. “I’ve never played a gay man on screen before,” Fee goes on, “which sounds a bit mad as a gay man myself. So to get the opportunity to do something that felt so positive was such a gift.”

Adaptation of hit comedy quiz will begin airing on CNN on Saturday nights to coincide with presidential election

Arch, ironic and understated, Have I Got News for You is the quintessential British comedy quiz, but its creators are hoping a US version of the show can translate its particular brand of political humour across the Atlantic.

A US adaptation of the show will be broadcast by CNN in the autumn, to coincide with the presidential election. It will hit screens on Saturday nights – part of a double-bill with Bill Maher’s Real Time.

Ruth Paxton’s psychological horror is a gut-wrencher, and Leonardo DiCaprio invades your dreams in the Christopher Nolan gobsmacker. You’ve not lived until you’ve seen a Paris arrondissement fold in on itself …

One night at a party, teenager Betsey (Jessica Alexander) walks into the woods and walks out a changed person. She stops eating and shows all the signs of a mental health crisis, but tells her worried mum Holly (a convincingly frazzled Sienna Guillory) that she has been gifted prophetic, apocalyptic visions. Ruth Paxton’s disquieting psychological horror teases a supernatural answer to Betsey’s symptoms, but it is mainly a gut-wrenching tale of anorexia and how it can affect those around the patient. Guillory is fantastic as the single mother striving to hold her family together but being drawn into her child’s fantasies – at the cost of her own sanity.
Friday 24 May, 11.10pm, Film4

What seemed like another lazy nostalgia cash grab became a favorite, with lessons that Marvel’s universe could learn from

It should have been what Magneto refers to as a “nostalgic parlor trick” – reviving the X-Men cartoon that aired on Saturday mornings throughout much of the 90s for the Disney+ streaming service. Isn’t this what all streaming services do? They comb through their back catalog to see what IP can be exploited, promising both nostalgia and, of course, a fresh new spin on whatever thing you’ve already seen before. So while it was a given that a certain number of X-Men fans would be on board for X-Men ’97, which just completed its 10-episode first season with a second already on the way, it’s still a bit surprising that a revival of an ambitious, sometimes-clunky 90s-kid object of obsession would become one of the year’s most beloved TV shows.

Some of it may be hunger for any kind of ongoing X-Men series outside of the comics, which remain, as ever, a relatively niche interest. (For every restart at issue no 1, there’s several volumes of backstory that must be summarized to even begin to understand what the hell is going on.) After the Fox network aired the X-Men cartoon, the live-action movie studio adapted the characters into the first major superhero movies of the new millennium, helping to kickstart a major cultural trend. The Fox X-Men movies ran for an impressive 20 years, but Disney’s purchase of the studio coincided with a couple of box office flops in the form of Dark Phoenix and the much-delayed, pandemic-released The New Mutants. A curtain call of sorts is coming this summer with Deadpool & Wolverine, but that movie will also integrate the wisecracking Ryan Reynolds mercenary (who spun off from the X-Men movies) into the broader MCU. As such, it’s been four years since there was an X-Men movie in theaters – and longer since the last one that really connected with audiences, 2017’s Logan.

This drama about a fake movie fabricated to let Black Panther fugitive Huey P Newton flee to Cuba in the 70s not only dilutes the story of a Black leader – it centres the white characters. Eyes will roll

A few years back, in conversation with three Chicago-area Black Lives Matter activists, I brought up the then-forthcoming film Judas and the Black Messiah, starring Daniel Kaluuya as Fred Hampton, the deputy chairman of the Black Panther party in Illinois, who was assassinated by Chicago police, with help from the FBI, in 1969, aged 21. Were they excited to see this hometown hero brought to the big screen? Their collective eye-roll was so hard it nearly put a hole through the wall. “I mean, the CIA has a liaison office in Hollywood,” said one. “It’s impossible to go through that system and expect an authentic portrayal of an anticapitalist revolutionary.”

The Big Cigar is the latest attempt to pull off such a portrayal, regardless. It stars Moonlight’s André Holland as Black Panther Party co-founder Huey P Newton and tells the (sort of) true story of Newton’s 1974 flight to Cuba to escape a murder charge, with the help of Hollywood producer Bert Schneider (Alessandro Nivola) and an entirely fake movie codenamed The Big Cigar. It sounds similar to the plot of 2012 Oscar-winner Argo, because it is, and because both were originally optioned from magazine features written by the same hot-shot long-read reporter, Joshuah Bearman.

Actor who found fame late in her career after landing the role of the children’s TV character Super Gran

Gudrun Ure, who has died aged 98, was 59 – and playing older than her years – when she landed the television role that finally made her famous after 40 years as an actor. She starred in the 1980s ITV children’s series Super Gran, as the happy, gentle elderly woman who finds, after a magic-ray machine is fired at her during a stroll in the park, that she has new special powers to help her defend residents of the fictional town of Chiselton from villains.

It is the villain-in-chief, Scunner Campbell (played by Iain Cuthbertson), who accidentally fires the contraption after stealing it from Inventor Black (Bill Shine). This turns Granny Smith into “Super Gran” and, assisted by very basic special effects, Ure was seen jumping high or pole-vaulting through windows (using a trampoline and trick camera angles), flying (with the help of a crane) and riding through the air on a two-wheel, multiwinged Flycycle (in reality an adapted butcher’s boy’s bike). Ure did many of the stunts herself, while some – including Super Gran cartwheeling – were performed by a double.

One female director hides that she has a child; younger women face a 39% gender pay gap; and harassment is widespread. Insiders say it’s a wonder the television industry has any women left at all

‘When is the good time to be a woman in TV?” asks Michelle Reynolds, a former TV producer and director. “In the start you get molested and infantilised, in the middle if you have babies they won’t let you work flexibly, then when you get past 45 you’re too bloody old.”

Now is not the best time for women in TV. According to recent research by the Creative Diversity Network, whose Diamond report collects data from the UK’s big broadcasters, the gender gap is widening. The number of women in senior roles fell 5% between 2019 and 2022. One in three directors are women, yet they get only a quarter of director credits. Contributions from female writers fell from 43% to 32% between 2016 and 2022. Behind these figures, women are less likely to be employed on peak-time shows, which are generally more prestigious and have larger audiences, than men.

How can one broom tear apart a Canadian curling community? John Cullen investigates in Broomgate. Plus: five of the best post-apocalyptic podcasts

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Broomgate
Widely available, episodes weekly
Never before has a broom been responsible for so much scandal – in 2015, the Canadian curling community was rocked by a team that used one instead of two. “To not have the other person out front cleaning in a frosty situation doesn’t make sense,” said one shocked commentator. The full story has never been told, so comedian and curling geek John Cullen investigates the switch to the “super broom” that caused a furore. Hannah Verdier

What happens to the 2bn bottles we consume in the UK every year? Plus, Sian Gibson’s murder mystery comedy has some stellar cameos. Here’s what to watch this evening

8pm, Channel 4
The brand is considered socially evil in more ways than one, but Coca-Cola’s environmental impact is the specific focus of this report. Ellie Flynn – a self-confessed Coca-Cola addict – investigates the reality of what happens to the 2bn bottles of the product consumed every year in the UK, and its claims about recycled plastic and water sustainability. Hollie Richardson

Presenter has added 1.6m listeners to Greatest Hits Radio mid-morning slot in last 12 months

Ken Bruce has added 1.6 million listeners since joining Greatest Hits Radio, as commercial radio stations continue to eat into the BBC’s audience.

Bruce left Radio 2 last year, saying the BBC had failed to offer him a new contract and he wanted a challenge. Aided by his regular PopMaster quiz, he has boosted the audience for his new mid-morning slot on Greatest Hits Radio by 73% in the last 12 months.

Nicola Coughlan is sensational as Penelope Featherington, whose long-simmering romance with Colin Bridgerton reaches boiling point – and the bonking is scarce but seriously steamy

Always a pleasure, never a chore (but sometimes an over-saccharine trifle): Bridgerton is back! Having lassoed the zeitgeist upon its 2020 debut – and fast-tracked its young stars to household names in the process – it feels odd to note that this is merely the third outing for Netflix’s costume drama for people who don’t like costume dramas. That is a real credit to the show: Bridgerton has established its arresting yet soothing take on Regency Mayfair with aplomb. It’s an immaculately constructed dreamland; the pinnacle of comfort TV.

It’s also immediately clear that Bridgerton is benefiting from having two seasons under its corset already, laying the foundations for the most captivating courtship yet. Thus far, each series has focused on different members of the Bridgerton children as per Julia Quinn’s novels: Daphne (Phoebe Dynevor) found love with Regé-Jean Page’s Duke of Hastings, before eldest son Anthony (Jonathan Bailey) met his match in 26-year-old “spinster” Kate Sharma (Simone Ashley). This season sees Francesca Bridgerton, a composed pianist with a businesslike approach to marriage, make her society debut. Yet the real beating-heart of these first four episodes (the final four will be released in mid-June) is the long-simmering romance between Colin Bridgerton (Luke Newton) and his neighbour Penelope Featherington (Nicola Coughlan).

Apollo theatre, London
John Cleese’s transposition of his TV sitcom to the theatre has pitch perfect performances, but it never quite becomes a play

What should we hope for when TV hits of yesteryear are revived onstage? Director Caroline Jay Ranger insists in the programme notes that her Fawlty Towers cast “not only provide the essence of the roles required [but also] offer something fresh and unique”. But do they? And is anyone actually here for fresh and unique? I’m not so sure. If the performances in this revamp of the Torquay hotel sitcom aren’t impersonations per se, they’re near as dammit. But they’re very good ones, and audiences who already love the material (most of them, let’s face it) will not be disappointed.

That’s no mean achievement. The danger in trying to recreate the original, as Ranger’s production (of an adaptation by John Cleese) does, is that the performances of Cleese, Prunella Scales, Andrew Sachs and co cannot, at least as far as fans are concerned, be bettered. So why not just watch the DVD? This revival makes the answer self-evident. Cleese and Connie Booth’s series had its roots in theatrical farce, so its frantic comings and goings, its slapstick and mounting chaos feel at home onstage. And the DVD wouldn’t afford you the pleasure, a very keen one, of seeing Adam Jackson-Smith in the Basil role, as astonishing an act of mimicry-cum-resurrection as you’re ever likely to encounter.

Cannes film festival
First-time actor Agathe Riedinger is a wannabe influencer from the wrong side of the tracks in this forthright and fluent film

Feature first-timer Agathe Riedinger is bringing the TikTok energy for this story of a wannabe Insta influencer-princess from the wrong side of the tracks – but the director is also bringing some pretty old school social realism, exerting its downward gravitational pull. The result is forthright and fluent and fiercely acted by a newcomer lead who, in the time-honoured style of movies like this, is defiant, vulnerable and front and centre of almost every shot. But it also sometimes treads water in terms of narrative, running out of ideas before the end, and its final ambiguity about an ultimate success that is there to be hallucinated rather than achieved feels anticlimactic.

Liane, played by Malou Khebizi, is a 19-year-old with a French and Italian background living in Fréjus in the south of France. She was once given up for foster care by her troubled mother but now taken back home and is now in charge of babysitting her kid sister, whom she is busily turning into a mini-me version of her own brassy, sexualised image. Liane shoplifts and sells the stolen goods – which has paid for her breast-implant surgery and she has also had her lips done. She hangs out with her friends, getting drunk, but is fastidious about how and with whom she’s having sex; she has thousands of followers on her Only-Fans-type insta (although oddly, it doesn’t occur to her to have an actual Only Fans account). Liane also has a poignantly religious sense of her own heroic martyrdom, her ill-treatment at the hands of online haters, men and her appalling mother.

Show follows origins of Bene Gesserit sect as seen in Denis Villeneuve’s movies, with Emily Watson and Olivia Williams

The first trailer for the much-anticipated TV prequel to the recent Dune movies promises a female-fronted look at life 10,000 years before.

Dune: Prophecy will follow the roots of the Bene Gesserit sisterhood led by the Harkonnen siblings, played by Emily Watson and Olivia Williams. Later members of the sect are played by Rebecca Ferguson and Charlotte Rampling on the big screen.

Guardian photographer Sarah Lee gets an exclusive look behind the scenes at the 2024 TV Baftas, with Timothy Spall, Floella Benjamin, Jeff Goldblum and … Queen Elizabeth I

Enlarge / Congress provides government support for other industries, so why not AM radio? (credit: Getty Images)

A controversial bill that would require all new cars to be fitted with AM radios looks set to become a law in the near future. Yesterday, Senator Edward Markey (D-Mass) revealed that the "AM Radio for Every Vehicle Act" now has the support of 60 US Senators, as well as 246 co-sponsors in the House of Representatives, making its passage an almost sure thing. Should that happen, the National Highway Traffic Safety Administration would be required to ensure that all new cars sold in the US had AM radios at no extra cost.

"Democrats and Republicans are tuning in to the millions of listeners, thousands of broadcasters, and countless emergency management officials who depend on AM radio in their vehicles. AM radio is a lifeline for people in every corner of the United States to get news, sports, and local updates in times of emergencies. Our commonsense bill makes sure this fundamental, essential tool doesn’t get lost on the dial. With a filibuster-proof supermajority in the Senate, Congress should quickly take it up and pass it," said Sen. Markey and his co-sponsor Sen. Ted Cruz (R-Texas).

About 82 million people still listen to AM radio, according to the National Association of Broadcasters, which as you can imagine was rather pleased with the congressional support for its industry.

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