This spectacular image taken in Sakrisøy, Norway, triggered accusations that it was simply too good to be true

Yuan Li splits his time between two careers: in the winter, he works as a ski instructor; in summer, a photographer. When he took this image, Beijing-based Li was visiting Norway and Iceland with friends, on a trip focused on sightseeing and photographing the aurora borealis. He captured this picture while exploring Sakrisøy, a small island in Lofoten, Norway. In the foreground sits this distinctive yellow homestay; in the background, Olstinden mountain.

“It had snowed heavily all day,” Li recalls. “As I was setting up to capture this scene, the snow stopped and the sun came out, which made the perfect environment for taking photos.”

By using music from SZA, Sabrina Carpenter and Olivia Rodrigo in ICE videos, the government is playing a game of rage-bait

Last week, as the Trump administration was engulfed in controversy over its illegal military strikes near Venezuela (among numerous other crises), a Department of Homeland Security employee – I picture the worst sniveling, self-satisfied, hateful loser – got to work on the official X account. The state-employed memelord posted a video depicting Immigration Customs and Enforcement (ICE) officials arresting people in what appeared to be Chicago, celebrating the humiliation and incarceration of undocumented immigrants as some sort of patriotic achievement. The vile video borrowed, as they often do, from mainstream pop culture; in this case, a viral lyric from Sabrina Carpenter’s song Juno – “Have you ever tried this one?,” referring to sex positions – overlaid clips of agents chasing, tackling and handcuffing people, cheekily nodding to all the methods in ICE’s terror toolbox.

Carpenter, as a pre-eminent pop star, was caught in an impossible position. Say nothing, as her friend and collaborator Taylor Swift did weeks earlier when the White House used her music in a Trump hype video, and risk appearing as if you condone the administration’s use of your art for a domestic terror campaign (the administration hasn’t yet used Swift for an ICE video, but I’m sure it’s coming); engage, even if to honestly express your utter disgust, and risk bringing more attention to objectionable propaganda designed to provoke a response.

The actor, writer and comedian on turning his life around, fancying Cilla Black and his secret nose-picking

Born in Coventry, Guz Khan, 39, was working as a secondary school teacher when he began uploading comedy videos as the character Mobeen in 2014. The following year, he gave up teaching to pursue standup. In 2017, his show Man Like Mobeen was released by the BBC and ran for five series. He won a Royal Television Society award in 2020 and was Bafta-nominated twice. His films include Army of Thieves and The Bubble. Guz Khan’s Custom Cars starts on Quest on 19 January. He is married with five children and lives in the West Midlands.

What is the trait you most deplore in yourself?
Impulsivity. We end up in strange places, like right now – I am in the Middle East.

Colm Tóibín, Robert Macfarlane, Elif Shafak, Michael Rosen and more share the novels, poetry and memoirs that make the perfect gift

I love giving books as presents. I rarely give anything else. I strongly approve of the Icelandic tradition of the Jólabókaflóðið (Yule book flood), whereby books are given (and, crucially, read) on Christmas Eve. Nan Shepherd’s The Living Mountain is the one I’ve given more often than any other; so much so that I keep a stack of four or five to hand, ready to give at Christmas or any other time of the year. It’s a slender masterpiece – a meditation on Shepherd’s lifelong relationship with the Cairngorm mountains, which was written in the 1940s but not published until 1977. It’s “about the Cairngorms” in the sense that Mrs Dalloway is “about London”; which is to say, it is both intensely engaged with its specific setting, and gyring outwards to vaster questions of knowledge, existence and – a word Shepherd uses sparingly but tellingly – love.

It’s pure joy to see the beloved comedy’s crew get back together. It feels like a family reunion – but one where everyone is hugely charming

Peep Show is not really a TV show. It’s closer to an identity now, embedded in the collective British DNA. A decade after the show finished, many of us still call each other “Clean Shirt”, notice logos in foam or quip about crack being “very moreish”. The only show more emblematic of the UK’s national psyche is The Great British Bake Off. Therefore rejoice, for the hottest collab of the holiday is here! I’m calling this the real reason for the season. The true raisin for the praisin’, perhaps.

They’re so much part of our lives, it’s hard to see these bakers as actors. It feels more natural to say that this Christmas the Bake Off tent will host a reunion of Mark, Sophie, Big Suze, Super Hans and Dobby. Together again, like family, your family. It’s glorious to see them – older, some bearded, not one of them less charming. No proceeds from this are going to charity because there aren’t any. This is happening purely for joy.

My reduced vision badly affected my ability to appreciate films and art, but the stripped-back staging and immediacy of the play gave me back my sense of self

I began to notice my sight deteriorating in my 40s, but not just in the way that you expect it to with age. I had night blindness and blind spots in my field of view. At 44, I was diagnosed with retinitis pigmentosa, a genetic eye condition that causes the retina cells to die. I had always been a very visually oriented person: I was a practising architect, and someone who loved to read, draw, go to the cinema and visit art exhibitions. So when black text disappeared on a glaring white page, films became impossible to follow and artworks only took shape once explained to me, I questioned who I would be without my vision.

Around the age of 50, I had a particularly stressful year: I got divorced; dissolved my business; started a new job; moved house; and my dad died. As my life fell off a cliff, so did my eyesight, so that by 2015 my field of vision had decreased to only 5-10 degrees (a healthy average person’s is about 200 degrees). I was registered blind, but for a long time I lived in denial, not telling anyone how much vision I had lost. At work, feeling vulnerable and like I could lose my job, I presented as fully sighted, a daily performance that became exhausting. I was in survival mode, focusing on putting one foot in front of the other, hoping I wouldn’t get found out. I refused to see myself as disabled, and resisted using a white stick, but once I eventually did, I found people saw my disability before they saw me. I felt a total loss of identity. And I stopped doing the cultural things that once brought me joy.

The smash hit sci-fi nostalgia-fest reaches the end game on Boxing Day – so brace yourself for blockbuster whoppers. Plus: Ethan Hawke is a dirt-digging ‘truthstorian’ in a quirky drama full of heart – and more Emily in Paris!

The concluding episodes of the Duffer brothers’ smash-hit coming-of-age, sci-fi nostalgia-fest (maybe the secret of the show’s success is how many genres it manages to incorporate?) will be dropping all over the festive season – and they are blockbuster whoppers. Devotees will be up bright and early on Boxing Day for episodes five to seven (the finale airs on New Year’s Day). Events are dominated by Will’s new powers, which present a massive threat to Vecna. But why is Vecna so wary of the cave in which Max is hiding? As the finale looms, the past and present are set to fall into place – and the now visibly twentysomething cast will be able to move on with their lives.
Netflix, from Boxing Day

Amber, George, Balvinder and Karen battle it out for a chance at the glitterball trophy. Plus: get in the spirit with some festive bangers. Here’s what to watch this evening

6.35pm, BBC One

The goofy star of Mary Poppins becomes a centenarian on Saturday. And what a precocious performer he has proved, sustaining scrappy mischief through seven decades of mainstream entertainment

All Hollywood stars grow old and die except perhaps one - Dick Van Dyke - who turns 100 today. The real world Peter Pan who used to trip over the ottoman on The Dick Van Dyke Show is still standing. The man who impersonated a wind-up toy in Chitty Chitty Bang Bang hasn’t wound down just yet. He has outlived mentors, co-stars, romantic partners and several studios. He’s even outlived the jokes about his performance in Mary Poppins. These days his mangled cockney accent is regarded with more fondness than contempt. It’s seen as one of the great charms of the 1964 classic, along with the carousel chase or the cartoon dancing penguins.

Charm is the magic ingredient of every popular entertainer and few have possessed it in such abundance as Van Dyke, the impoverished son of a travelling cookie salesman who dropped out of high school and educated himself at the movies. “His job in this life is to make a happier world,” his Broadway co-star Chita Rivera once said - and this may explain his stubborn refusal to quit, not while times are tough and he feels that audiences still need cheering up.

Scarlett Johansson’s directorial debut stars the 96-year-old June Squibb, while Netflix’s lovable tweefest sees its heroine move to Rome

Eleanor the Great
Out now
June Squibb stars in Scarlett Johansson’s directorial debut, which premiered at Cannes and tells the tale of the eponymous Eleanor, a senior citizen recently relocated to New York, who strikes up a friendship with a 19-year old – and then stumbles her way into pretending to be a Holocaust survivor.

Lurker
Out now
A hit at Sundance, this is the story of a lowly retail employee who happens to strike up a friendship with a rising pop star, becoming the Boswell to his Johnson, if Boswell was part of a pop star’s entourage. But the path of friendship with a famous person never did run smooth, and the uneven power dynamic soon prompts some desperate manoeuvring in this psychological thriller.

Ella McCay
Out now
Emma Mackey stars in the latest from James L Brooks (his first since 2010), a political comedy about an idealistic thirtysomething working in government and preparing to step into the shoes of her mentor, Governor Bill (Albert Brooks). Jamie Lee Curtis co-stars as Ella’s aunt.

Barbican, London
An all British programme featured music by Thea Musgrave, Vaughan Williams and William Walton, with Antoine Tamestit an expressive and sensitive soloist in the latter’s Viola concerto

Antonio Pappano’s evangelical embrace of British music continued apace in a concert featuring a welcome rarity by Thea Musgrave, William Walton’s strangely neglected Viola Concerto, and the latest in his ongoing Vaughan Williams cycle, the evocative A London Symphony.

Musgrave, still composing at 97, wrote Phoenix Rising in 1997 for the late Andrew Davis, to whom Pappano dedicated this concert. A 23-minute rollercoaster, it pits a blackguardly timpanist and his stick-wielding allies against a devil-may-care hornist and his brassy backup band. The horn player enters from off stage, the timpanist stalks off in a huff, and somewhere in the middle, for no immediately discernible reason, a phoenix soars aloft in an iridescent haze of tuned percussion. Pappano and the London Symphony Orchestra gave it a thorough workout with marimba, vibraphone, glockenspiel, xylophone and tubular bells creating a magical aura. The musicians certainly revelled in its prickly harmonies, though the theatrical elements might have been pushed further.

A buzzy thriller about a Hollywood hanger-on and a moving documentary following the parents bereaved in last summer’s Southport attack. Here’s the pick of the week’s culture, taken from the Guardian’s best-rated reviews

The writer’s former partner and her co-star Ruby Ashbourne Serkis describe the bittersweet nature of remounting his 90s play so soon after his death

• ‘We were swimming in the mind pool of Tom Stoppard!’ – actors salute the great playwright

I won’t, I promise, refer to Felicity Kendal as Tom Stoppard’s muse. “No,” she says firmly. “Not this week.” Speaking to Stoppard’s former partner and longtime leading lady is delicate in the immediate aftermath of the writer’s death. But she is previewing a revival of his Indian Ink, so he shimmers through the conversation. The way Kendal refers to Stoppard in the present tense tells its own poignant story.

Settling into a squishy brown sofa at Hampstead theatre, Kendal describes revisiting the 1995 work, developed from a 1991 radio play. “It’s a play that I always thought I’d like to go back to.” Previously starring as Flora Crewe, a provocative British poet visiting 1930s India, she now plays Eleanor Swan, Flora’s sister. We meet Eleanor in the 1980s, fending off an intrusive biographer but uncovering her sister’s rapt and nuanced relationships in India.

The former X Factor judge is back, auditioning boyband wannabes for his latest talent show – but gen Z doesn’t seem to care very much, or even know who he is

Have we gone back in time to 2010? If only! No, Simon Cowell is just back in the headlines, reasserting his svengali status for his new Netflix show. Reviews suggest that Cowell’s attempted comeback, 15 years since his celebrity peak, highlights less his particular star power than how totally the world has moved on. But is there anything to learn from SyCo now, and will his new boyband work? Let’s see!

1. Cowell is chasing a new direction

As played by Milly Alcock, the Supergirl trailer shows Kara Zor-El looking burdened and traumatised. Does this mean that the DC universe is getting darker?

Since James Gunn’s Superman became the biggest superhero movie at this summer’s box office, the world has been waiting to find out what the rest of the DCU sandpit will look like. Now, with the debut trailer for Supergirl, we have our first proper glimpse. On this evidence, the new Kara Zor-El lives in a brave new universe of gods and monsters that reflects her loneliness and fury right back at her.

Milly Alcock’s “woman of tomorrow” may not be like anyone we’ve seen on big or small screens before – which is impressive given how often Supergirl has been wheeled out over the decades. Helen Slater’s 1984 version is now widely regarded as a kind of sun-bleached Reagan-era artefact – a well-meaning but terminally camp experiment. Sasha Calle’s Supergirl in the recent The Flash looked soulful, angry and potentially gamechanging. And Melissa Benoist spent six seasons headlining a Supergirl series that was warmly received by its audience but rarely intruded into the consciousnesses of people who actually buy comic books.

Russian airstrikes on Kyiv, floods in Indonesia, the IDF in Gaza and the Nutcracker in Nairobi: the past seven days as captured by the world’s leading photojournalists

A reboot of Peter Shaffer’s play hopes to repeat the 1984 film’s magic and lure a fresh audience to classical music

Forty years ago, Amadeus won eight Oscars, four Baftas and four Golden Globes – and introduced a new generation to 18th-century music. Millions bought the film’s Mozart soundtrack and it remains one of the bestselling classical music albums of all time, shifting more than 6.5m copies globally, and earning 13 gold discs.

It even inspired a novelty hit when Falco mixed Europop with rap in Rock Me Amadeus – the first German-language song to top the US Billboard chart (Nena’s 99 Luftballons only reached No 2 in the US, pop-pickers).

Rian Johnson has another Benoit Blanc hit on his hands with Wake Up Dead Man, in which Blanc tackles the strange death of a fire-and-brimstone parish priest, Monseigneur Jefferson Wicks (Josh Brolin). It’s a classic locked-room mystery in a spookily Gothic small-town setting, and Johnson turned to cinematographer Steve Yedlin (Looper, The Last Jedi) to help realize his artistic vision.

(Minor spoilers below but no major reveals.)

Yedlin worked on the previous two Knives Out installments. He’s known Johnson since the two were in their teens, and that longstanding friendship ensures that they are on the same page, aesthetically, from the start when they work on projects.

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The UK art world is finally becoming more inclusive. But greater support must be given to the organisations that enable disabled artists to flourish

The Turner prize is no stranger to sparking debate or pushing boundaries. This year it has achieved both. For the first time, an artist with learning disabilities has won. Glasgow-born Nnena Kalu took the award for her colourful, cocoon-like sculptures made from VHS tape, clingfilm and other abandoned materials, along with her large swirling vortex drawings. Kalu is autistic, with limited verbal communication. In an acceptance speech on her behalf, Kalu’s facilitator, Charlotte Hollinshead, said that “a very stubborn glass ceiling” had been broken.

Kalu’s win is a high-profile symbol of a shift towards greater inclusivity that has been happening in the UK arts world over the past five years. Last month, Beyond the Visual opened at the Henry Moore Institute, Leeds, in which everything is curated or created by blind and partially sighted artists. The exhibits range from Moore sculptures (which visitors are encouraged to touch) to David Johnson’s 10,000 stone-plaster digestive biscuits stamped with braille. Design and Disability at the V&A South Kensington is showcasing the ways in which disabled, deaf and neurodivergent people have shaped culture from the 1940s to now.

Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here.

As Wham! top singles chart, Minogue draws level with David Bowie, Eminem, U2 and Rod Stewart in the album league table, thanks to a reissue of her 2015 Christmas LP

Kylie Minogue has scored her 11th UK No 1 album, putting her level with David Bowie and Eminem in the league of all-time album chart-toppers.

The album, Kylie Christmas (Fully Wrapped), will sound familiar to her fans: it’s a reissue of her 2015 album Kylie Christmas (which only reached No 12), containing four newly recorded tracks and an altered tracklisting. It had already been reissued once before, in 2016, as the Snow Queen Edition. Nevertheless, the Fully Wrapped version counts as a new album in chart terms, and so continues a non-consecutive run of No 1s that began in 1988, when Minogue’s self-titled debut spent six weeks at the top.

The University of Leeds complex was a prototype for the Barbican – and the work done to it over time demonstrates how brutalist buildings can be humanised, writes Alan Radford

I read with interest about the refurbishment plans for the Barbican (Barbican revamp to give ‘bewildering’ arts centre a new lease of life, 5 December). I spent more than 30 years working on the prototype – the large complex of buildings that the architects Chamberlin, Powell and Bon designed for the University of Leeds, constructed circa 1970.

All of the design features in the Barbican were there in the Leeds complex of offices, laboratories, library and so on, including all the problems. I always explained to visitors that I regarded the Chamberlin buildings primarily as a large-scale piece of brutalist sculpture rather than as a working environment.

Wigmore Hall, London
A beautifully controlled programme of Chopin, Rameau, and the latter’s long-forgotten contemporary Duphly, showcased the pianist’s unerring sense of line

Siberian-born Pavel Kolesnikov soared into view after winning the Honens piano competition in 2012 in his early 20s. More than a decade later, he has established a mix of standard concerto performances with idiosyncratic, smaller-scale projects: a choreographic collaboration, chamber-music partnerships and imaginatively off-piste recital programming.

For his latest Wigmore Hall appearance, bookending 18th-century French keyboard music with Chopin, Kolesnikov sloped on to the stage largely hidden behind his own hair. He sat abruptly but caressed the opening of Chopin’s Waltz in C sharp minor Op 62 No 2 as if he’d been at the keyboard for hours, his touch cashmere-soft, the sound almost outrageously intimate. Movements from a suite by the long-forgotten French composer Jacques Duphly followed without a break. Kolesnikov emphasised the contrasts – between spare, crisply articulated contrapuntal meandering and flurries of liquid passagework, the harsh and the barely audible – as if the five movements were a single fantasia composed in Chopin’s era, not Duphly’s.

Tate stresses its departing director has ‘diversified’ the collection, but it has hidden its treasures and let its galleries slide into insulting incoherence – and visitors have voted with their absence

In the last nine years Tate has had some hits, but its misses have become embarrassing. Tate Modern’s Turbine Hall is currently occupied by a feeble installation that would be weak in an ordinary-sized art space, let alone this gigantic one. It’s become genuinely hard to understand what Tate’s priorities are when it chooses artists for the annual Turbine Hall commission. And the Turner prize is even more mystifying. Once the stage of shocking, provocative art that engaged – whether they were for or against – a massive public, it has retreated into wilful obscurity, its trips around the UK starting to seem part of a studied wholesomeness. What’s the point of staging it in Bradford when the shortlist just exports the enigmatic tastes of a metropolitan elite?

Is Maria Balshaw, who is quitting her post as director of Tate, solely responsible for this? No, but perhaps she is courageously taking the blame and allowing the institution to reinvent itself as it needs to, fast. The achievements Tate stresses in its announcement of her departure centre on how she has “diversified” the collection, exhibition and audiences. But in that noble quest, there has been a loss of artistic ambition, aesthetic thrills, raw horror and beauty. Sometimes we really do want art for art’s sake and Tate has lost sight of that.

Lyttelton theatre, London
Coughlan plays a barmaid, alongside Derry Girls co-star Siobhán McSweeney, in JM Synge’s 1907 classic

Every woman loves a bad boy, or so the cliche goes. Here it is tested when Christy Mahon walks into a pub to confess he has killed his father with a farming tool. It’s not quite the truth but he is, to his own surprise, turned into a local celebrity. Women flock to see him and men hail him a hero.

John Millington Synge’s unromanticised comic portrayal of a farming community in the west of Ireland caused moral outrage at its 1907 premiere at Dublin’s Abbey theatre. This revival by the Abbey’s current artistic director, Caitríona McLaughlin, makes clear that it is something of a woman’s play, ahead of its time, with two female leads abjuring conservative Catholic morality to hope for something bigger than a small, scratching country existence.

As the classic album hits 50, Nick Mason talks about the often difficult process of making it and how it has since fit into their larger catalogue

By almost every measure, from commercial reward to creative reach, Pink Floyd scaled its peak on Dark Side of the Moon. But, when I asked drummer Nick Mason how he would rank the album in their catalogue, he slotted it below the set that came next, Wish You Were Here. Speaking of Dark Side, he said, “the idea of it is almost more attractive than the individual songs on it. I feel slightly the same about Sgt. Pepper. It’s an amazing album that taught us a hell of a lot, but the individual parts are not quite as exciting, or as good, as some of the other Beatles’ albums.”

By contrast, he says of Wish You Were Here, “there’s something in the general atmosphere it generates – the space of it, the air around it, that’s really special,” he said. “It’s one of the reasons I view it so affectionately.”

Martin Compston and Meera Syal are among the names in this tale of divorcees hitting back at their exes. It’s a thriller, comedy and psychodrama all at once – but could maybe do with being more simple

Sometimes three-in-one type things are good. Phone chargers with lots of leads for all your devices that have stupidly different ports. Those woolly hats that cover your neck and lower face, so you look daft but are impregnable to winter cold. The Nars blusher stick that is also a lipstick and eyeshadow.

When it comes to dramas, however, it’s best to stick to one field of endeavour. The Revenge Club is a gallimaufry of tones, styles and performances. Watching it is like looking through a kaleidoscope that someone twists for you every few minutes; it’s fun but quite disorienting after a while.

Women are trailblazing efforts in the UK and US to improve sustainability on film and TV sets, from donating catering and rehoming props to reducing emissions

It’s two days before Thanksgiving and Hillary Cohen and Samantha Luu are trying to figure out how they’re going to cook 120 turkeys with limited oven space in their food warehouse in downtown LA. “We’re going to have to do a bit of spatchcocking. It’s not very showbiz,” Cohen says.

It’s the busiest time of year for Cohen and Luu, assistant directors who founded not-for-profit organisation Every Day Action during the Covid pandemic. Designed to help unhoused people and those facing food insecurity across the city, the idea was born when Cohen noticed the amount of food waste on film and TV sets, and looked into redistributing it to those in need. “I remember asking, ‘Why can’t we donate this food?’ I kept being told it was illegal and that people could sue us if they got sick.” It didn’t take Luu, who grew up working in a soup kitchen her father founded, long to establish this was not the case. “In the US, there’s the Bill Emerson Good Samaritan Act that’s been around since 1996,” she says. “It protects food donors from liability issues.”

The brutalist arts-and-towers complex, where even great explorers get lost, is showing its age. Let’s hope the 50th anniversary upgrade is better than the ‘pointillist stippling’ tried in the 1990s

The Barbican is aptly named. From the Old French barbacane, it historically means a fortified gateway forming the outer line of defence to a city or castle. London’s Barbican marks the site of a medieval structure that would have defended an important access point. Its architecture was designed to repel. Some might argue, as they stumble out of Barbican tube station and gaze upwards, not much has changed in the interim.

The use of the word “barbican” was in decline in this country until the opening in 1982 of the Barbican Arts Centre. Taking 20 years to build, it completed the modernist megastructure of the Barbican Estate, grafted on to a huge tract of land devastated by wartime bombing. The aim was to bring life back to the City through swish new housing, energised by the presence of culture. Nonetheless, the arts centre, the elusive minotaur at the heart of the concrete labyrinth, was always farcically difficult to locate. To this day, visitors are obliged to trundle along the Ariadne’s thread of the famous yellow line, inscribed in what seemed like an act of institutional desperation, across concrete hill and dale.

Scottish rock band says image ‘meant to provoke debate, not hate’ after many at concert accuse group of antisemitism

The Scottish rock group Primal Scream has defended displaying an image of a swastika inside a Star of David during a London gig, in response to accusations of racism and antisemitism.

During a performance at the London’s Roundhouse, a video was shown on stage of a swastika in the centre of a Star of David that was then superimposed over eyes of images of political figures, including the Israeli prime minister, Benjamin Netanyahu, and the US president, Donald Trump.

The Guardian’s picture editors select photographs from around the world

With its soaring ceilings, meandering pathways and mesh-like walls, Taichung Art Museum, designed by Sanaa, sweeps visitors from library to gallery to rooftop garden for rousing views

Walking through the brand new Taichung Art Museum in central Taiwan, directions are kind of an abstract concept. Designed by powerhouse Japanese architecture firm Sanaa, the complex is a collection of eight askew buildings, melding an art museum and municipal library, encased in silver mesh-like walls, with soaring ceilings and meandering pathways.

Past the lobby – a breezy open space that is neither inside nor out – the visitor wanders around paths and ramps, finding themselves in the library one minute and a world-class art exhibition the next. A door might suddenly step through to a skybridge over a rooftop garden, with sweeping views across Taichung’s Central Park, or into a cosy teenage reading room. Staircases float on the outside of buildings, floor levels are disparate, complementing a particular space’s purpose and vibe rather than having an overall consistency.

It started with a goat. Now – via a degree for developers and an incubator for startups – the tiny city is churning out world-famous video game hits. What is the secret of its success?

On 26 March 2014, a trailer for a video game appeared on YouTube. The first thing the viewer sees is a closeup of a goat lying on the ground, its tongue out, its eyes open. Behind it is a man on fire, running backwards in slow motion towards a house. Interspersed with these images is footage of the goat being repeatedly run over by a car. In the main shot, the goat, now appearing backwards as well, flies up into the first-floor window of a house, repairing the glass it smashed on its way down. It hurtles through another window and back to an exploding petrol station, where we assume its journey must have started.

This wordless, strangely moving video – a knowing parody of the trailer for a zombie survival game called Dead Island – was for a curious game called Goat Simulator. The game was, unsurprisingly, the first to ever put the player into the hooves of a goat, who must enact as much wanton destruction as possible. It was also the first massive hit to come out of a small city in Sweden by the name of Skövde.

The Scottish star used his exceptional gift for impersonations to create genre-mashing specials that were as epic as the Hollywood films they parodied. He was a perfectionist performer with huge talent

• Actor and comedian Stanley Baxter dies aged 99

The description “special” is overused in television schedules; Stanley Baxter’s programmes justify it. The comedian is one of the few stars whose reputation rests on a handful of astonishing one-offs – standalone comic extravaganzas screened in the 1970s and 1980s, first by ITV’s London Weekend Television and then the BBC.

In both cases, the networks ended their associations with Baxter not because of lack of audience interest – at their peak, the shows reached more than 20 million viewers – but due to the colossal costs demanded by the performer’s vast and perfectionist visual ambition. One of Baxter’s favourite conceits was to re-create, in witty pastiche, scenes from big-budget Hollywood movies that made it look as if his versions had also spent millions of dollars.

The singer’s tears over the Islamic State terrorist plot against her show and Southport attack make this behind-the-scenes docuseries about her world-conquering tour more moving than anyone could have anticipated

Swifties had long guessed that there would be a documentary going behind the scenes of Taylor Swift’s blockbuster Eras tour. The 2023 Eras Tour concert movie didn’t show any of the inner workings of this three-and-a-half-hour behemoth, which ran for 149 dates from 2023-24. Fans put some bits together, such as how Swift arrived on stage being pushed inside a cleaning cart. Plus, given the two albums she wrote during and about the Eras tour – 2024’s The Tortured Poets Department and this year’s The Life of a Showgirl – it wouldn’t be Swiftian to overlook another lucrative IP extension.

What fans could never have imagined was that Disney was set to start filming as the Eras tour was due to hit Vienna on 8 August 2023 – the first of three shows in the Austrian capital that were cancelled owing to an Islamic State terrorist plot. We learn this in episode one of the six-part docuseries The End of an Era, when Swift and her longtime friend Ed Sheeran are backstage at Wembley, hours before he guests at her first concert after the thwarted attack. “I didn’t even get to go,” Swift tells him of Vienna. “I was on the plane headed there. I just need to do this show and re-remember the joy of it because I’m a little bit just like …” She can’t find the words.

Malak A Tantesh lauded for her ‘vital coverage of a war most journalists were banned from witnessing’

Malak A Tantesh, the Guardian’s former Gaza correspondent, was given a standing ovation at the British Journalism Awards, as she was recognised for reporting that included her own journey home following January’s ceasefire deal.

Tantesh, who reported for the Guardian from Gaza for 18 months, was named new journalist of the year and awarded the Marie Colvin award for outstanding up-and-coming journalists at a ceremony on Thursday night.

Royal Festival Hall, London
Playing a mix of traditional folk and radically rearranged acoustic Led Zeppelin classics, the former Zep frontman is in fine voice – but also happy to step out of the spotlight

Between songs, Robert Plant describes his latest project, Saving Grace, as hailing “from the west side of common sense”. It’s a self-effacing remark but he has a point. Most rock stars of his vintage and stature (78 next year, somewhere between 200m and 300m albums sold with Led Zeppelin) would be out there underlining their status by touring the hits. But as anyone who has followed Plant’s serpentine post-Zeppelin career will tell you, the straightforward option doesn’t seem to hold great appeal for him.

So Saving Grace are a band assembled from musicians local to his home in Shropshire – though it isn’t entirely clear if Plant is joking when he suggests he found multi-instrumentalist Matt Worley working in the local tourist information office. Their oeuvre is an intriguing stew of traditional folk songs (The Cuckoo, As I Roved Out); covers that pay testament to Plant’s famously catholic tastes (Everybody’s Song by Low rubs shoulders with It’s a Beautiful Day Today by 60s psych heroes Moby Grape); and a scattering of Led Zeppelin tracks that you could fairly describe as radically rearranged: both Ramble On and Four Sticks now heavily feature an accordion, with the low end provided not by a bass guitar but a cello. Moreover, this is an evening in which one of the most renowned frontmen in rock history – whose voice is in quite astonishing nick – seems happy to regularly cede the spotlight, and effectively act as a backing singer for Worley and vocalist Suzi Dian.

Tribute to Sylvia Townsend Warner follows campaign to nominate overlooked women

“The thing all women hate is to be thought dull,” says the title character of Sylvia Townsend Warner’s 1926 novel, Lolly Willowes, an early feminist classic about a middle-aged woman who moves to the countryside, sells her soul to the devil and becomes a witch.

Although women’s lives are so limited by society, Lolly observes, they “know they are dynamite … know in their hearts how dangerous, how incalculable, how extraordinary they are”.

Artists explore insomnia and snoozing, sculptors imagine alternative futures and we look back with a great British photographer – all in your weekly dispatch

To Improvise a Mountain
Painter Lynette Yiadom-Boakye portrays fictional people in made-up settings. Where does she get her haunting ideas? Here she reveals her inspirations from Walter Sickert to Bas Jan Ader.
• MK Gallery, Milton Keynes, until 25 January

Unhurried trippy bass lines and poet Iona Lee’s commanding, velvety voice conjure a glamorously unhurried sense of hypnosis

From Edinburgh
Recommended if you like Dry Cleaning, Massive Attack, Nick Cave
Up next Warm Days in December out now, new EP due early 2026

As fixtures of Edinburgh’s gig-turned-performance art scene, Acolyte’s eerie, earthy psychedelia is just as likely to be found on stage at the Traverse theatre as in a steamy-windowed Leith Walk boozer. Their looped bass lines and poet Iona Lee’s commanding, velvety voice conjure a sense of slow-burn hypnosis – and just like their music, Acolyte are glamorously unhurried. They’ve released only a handful of songs in the seven years since Lee and bassist Ruairidh Morrison first started experimenting with jazz, trip-hop and spoken word, but now the group (with Daniel Hill on percussion and Gloria Black on synth, also known for throwing fantastical, papier-mache-costumed club nights with her former band Maranta) are gathering pace.

Here are all the best movies to watch over the holidays – from favourites like Elf and Paddington to the latest from Mission: Impossible and Knives Out. Plus, two of the sexiest films ever made

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Halcyon Years by Alastair Reynolds; Paris Fantastique by Nicholas Royle; All Tomorrows by CM Kosemen; The Salt Oracle by Lorraine Wilson; The Witching Hour by various authors

Halcyon Years by Alastair Reynolds (Gollancz, £25)
Yuri Gagarin, the Russian cosmonaut who was the first man in space, is reborn as a private eye on board the starship Halcyon as it draws nearer to the end of a centuries-long journey. Yuri knows he died for the first time back in the 1960s, long before the technology existed to launch such sophisticated spaceships, but believes his remains were preserved and stored for future revival. Onboard life is modelled on classic crime noir from the 1940s: men in hats, cigarettes and whisky, with no futuristic tech beyond some clunky, glitching robots. As he doggedly pursues the truth about the seemingly unconnected deaths of two teenagers from the most powerful families on the ship, Yuri gradually learns about himself. There’s a conspiracy that goes back generations in this clever, entertaining blend of crime and space opera.

Paris Fantastique by Nicholas Royle (Confingo, £9.50)
The third collection after London Gothic and Manchester Uncanny captures both the reality and the mysteries of contemporary life in Paris in 14 short stories, 11 published here for the first time. Royle is a genius at blending the ordinary with the eerie, and his stories range from displays of outright surrealism to sinister psychological mysteries that play out as suspensefully as Highsmith or Hitchcock. It’s a memorable, unsettling excursion through the streets, passages and banlieues of Paris, and a masterclass in writing evocative short fiction.

Dying is a process and in a person’s final hours and days, Nickie and her Threshold Choir are there to accompany people on their way and bring comfort. Through specially composed songs, akin to lullabies, the choir cultivates an environment of love and safety around those on their deathbed.  For the volunteer choir members, it is also an opportunity to channel their own experiences of grief and together open up conversations about death.

Full interview with Nickie Aven, available here

Baxter enjoyed a decades-spanning career on radio, TV and film, and was famous for impersonating famous people including Queen Elizabeth II

• Stanley Baxter obituary

• ‘Astonishing’: how his TV extravaganzas reached 20m

The actor and comedian Stanley Baxter has died at the age of 99.

Born in Glasgow in 1926, Baxter was best known for helming TV sketch series including The Stanley Baxter Show and The Stanley Baxter Picture Show.

The author on getting hooked on Flann O’Brien, reassessing Kingsley Amis, and why his grandfather was outraged by Watership Down

My earliest reading memory
Not my earliest reading memory, exactly, but my earliest memory of reading with avid enjoyment: The Three Investigators mysteries, a series of kids’ books about three juvenile detectives operating in far-off California (impossibly glamorous to me at the time) under the benign direction of Alfred Hitchcock, of all people. I devoured the first 12 in the franchise.

My favourite book growing up
Like everybody else growing up in the 1970s, I had a copy of Watership Down by Richard Adams on my bedroom shelves – it was the law. I did love it, though. Whatever fondness I have for the English countryside probably comes from that book. I remember my grandfather – a real country dweller – seeing me reading it and being outraged. “A book about rabbits?” he shouted. “They’re vermin!”

Inspired by the scary film franchise, playwright Levi Holloway and Punchdrunk maestro Felix Barrett are bringing the ‘bizarrely joyous’ world of terror to the stage

Malevolent spirits be damned – theatres can be haunted simply by the memory of bad plays and perhaps unscary horror in particular. The last time London’s Ambassadors theatre aimed to give audiences the shivers, with The Enfield Haunting, it led to some frightfully poor reviews. But a couple of years later, this intimate West End playhouse is hosting Paranormal Activity, a new instalment in the franchise that was kickstarted by a low-budget supernatural movie about a couple plagued by inexplicable nocturnal noises. “Hold your nerve” runs the play’s tagline – a directive you suspect applies not just to the audience.

Arriving at the theatre on the day of the first preview, it’s not creepy bumps and thuds that echo through the building but whizzing drills, sound checks and the last-minute discussions of a crew with a deadline. Perched in the dress circle bar, US playwright Levi Holloway and director Felix Barrett (best known as the founder of immersive theatre specialists Punchdrunk) are discussing how rarely they have been frightened in the theatre.

Every prize at the The Game Awards from the Peacock theater in Los Angeles

• Star Wars, Tomb Raider and a big night for Expedition 33 – what you need to know from The Game Awards

Clair Obscur: Expedition 33 – WINNER
Death Stranding 2: On the Beach
Donkey Kong Bananza
Hades II
Hollow Knight: Silksong
Kingdom Come: Deliverance II

Clair Obscur: Expedition 33 won nine awards, including game of the year, while newly announced games at the show include the next project from Baldur’s Gate 3 developer Larian Studios

• The Game Awards 2025: the full list of winners

At the Los Angeles’ Peacock theater last night, The Game Awards broadcast its annual mix of prize presentations and expensive video game advertisements. New titles were announced, celebrities appeared, and at one point, screaming people were suspended from the ceiling in an extravagant promotion for a new role-playing game.

Acclaimed French adventure Clair Obscur: Expedition 33 began the night with 12 nominations – the most in the event’s history – and ended it with nine awards. The Gallic favourite took game of the year, as well as awards for best game direction, best art direction, best narrative and best performance (for actor Jennifer English).

This week’s best wildlife photographs from around the world

An exuberant, inspiring memoir from the New Yorker writer and author of The Orchid Thief

In 2017, 10 years after Susan Orlean profiled Caltech-trained physicist turned professional origami artist Robert Lang for the New Yorker, she attended the OrigamiUSA convention to take Lang’s workshop on folding a “Taiwan goldfish”. I was with her, a radio producer trying to capture the sounds of paper creasing as Orlean attempted to keep pace with the “Da Vinci of origami”, wincing when her goldfish’s fins didn’t exactly flutter in hydrodynamic splendour.

It was Orlean in her element: an adventurous student, inquisitive and exacting, fully alive to the mischief inherent to reporting – and primed to extract some higher truth. “When we first met you said something to me I’ve never forgotten,” Orlean told Lang. “That paper has a memory – that once you fold it, you can never entirely remove the fold.” Was that, she wondered, an insight about life, too?

Stand Up to Cancer kicks off with unexpected Hollywood stars … and the beloved ‘hundys’ from The Celebrity Traitors. Plus: all-out luxury (and the best cheeses) at a Mayfair hotel. Here’s what to watch this evening

7.30pm, Channel 4
Davina McCall launches a run of programmes with the fight against cancer at their heart – including a Gogglebox special at 9.10pm with Kieran Culkin and Jazz Charton, Josh Hartnett and Tamsin Egerton, and Nick Mohammed and Joe Marler. Before that, there’s a documentary at 8pm from inside a cancer clinic at Addenbrooke’s hospital in Cambridge, following patients and their families on their journeys through testing, diagnosis and treatment. It aims to offer an insight into the clinical and emotional experience of this disease. Phil Harrison