Lena Zavaroni: fame, anorexia and the tragedy of a 1970s child star

Zavaroni was in the charts at 11 and died after years of illness aged 35. Her father talks about their family life as a new stage show about her is about to open

There are a few recordings of television interviews with Lena Zavaroni around online. One with Russell Harty where he comments that her eating disorder must save on restaurant bills and another when Terry Wogan tells her to eat up so she can get back to “your chunky self”.

The little girl with the big voice was 10 when she appeared on Opportunity Knocks television’s predecessor to Britain’s Got Talent and Pop Idol – singing Ma! He’s Making Eyes at Me, 11 when it was a hit and 13 when she was diagnosed with anorexia, a barely known illness then called the “slimmer’s disease”. Before she died in 1999 the girl from Rothesay on the Scottish island of Bute had hosted her own TV shows, performed at the White House and shared a stage with Barbra Streisand, Frank Sinatra and Lucille Ball. She remains the youngest artist ever to have a record in the Top 10 UK albums chart. Lena was huge.

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Miss the office? Michael Schur – master of the workplace sitcom – on why we should relish our return

As we slowly rediscover a world of bad wifi and slow lifts, the US Office writer and creator of Parks and Recreation and Brooklyn Nine-Nine explains why he can’t wait to get back

One of the first things we knew back in early 2020 was that we wouldn’t be going to work for a while. We thought that we would take a quick break – a week, maybe – and then reassess. So we cleaned out our cubicles and desks, and grabbed a few snacks from the kitchen (and toilet paper from the bathroom). One week became two, which became a month, which became a series of question marks spanning endlessly into the future, as the Zooms and FaceTimes and home office conversions gradually made the very idea of spending our workdays with other people seem like a quaint memory. Like childhood birthday parties, or answering machines, or properly functioning democracy.

Some of us might never go back. Every so often we will hear about companies reassessing their relationship to the office, which has been proved unnecessary or at least outdated.

‘In 1987,’ photographer Steven Ahlgren says, ‘when I was bored and unfulfilled, working as a banker in Minneapolis, I began taking frequent trips to look at a painting by Edward Hopper, Office at Night. What first drew me was its setting, which I related to each and every workday at the bank. But what kept pulling me back was its ambiguous narrative – who were these two people, what was their relationship, and why was the woman looking at that piece of paper on the floor?’

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The stars of Top Boy: ‘Are drug dealers going to Black Lives Matter marches? I doubt it’

Britain’s edgiest crime drama is about to return – and this time its scope is bigger than ever. Ashley Walters, Little Simz, Kano and more discuss turning Drake down, the call of Hollywood and not depicting BLM

You know a show has made it when it’s prepared to say no to its main backer, especially when that backer is a megastar rapper who is singlehandedly responsible for the show even being on TV. “When we first met Drake to talk to him about helping us to revive the series, he said, ‘Look, I’d love to be in it!’” says Top Boy creator Ronan Bennett, but this offer gave him a problem. “If Drake were to appear, it would have been a distraction. It would be hard to maintain Top Boy’s level of authenticity – so it didn’t happen.”

Since its launch in 2011, Top Boy has had a reputation for an unblinking depiction of the drug trade rife on inner-London estates. Soon, viewers will be treated to its second, hyper-realistic season on Netflix, nine years after it was cancelled by Channel 4 following two runs. Longtime fan Drake helped convince Netflix to commission the series, becoming executive producer along the way. It was also helped by calls from fans – including famous ones. When Kane “Kano” Robinson, the grime musician who plays gang leader Sully in the show, met Noel Gallagher, the first thing Gallagher said was: “When’s Top Boy coming back?’”

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Lockdown lifestyles: how has Covid changed lives in the UK?

Nearly two years after the first lockdown was implemented, legal restrictions related to coronavirus are finally being lifted. Here we chart what has changed in people’s lives

It’s nearly two years since the prime minister, Boris Johnson, announced the first national Covid lockdown and, for many Britons, life feels close to normal.

As of Thursday, there are no longer any restrictions in England – no legal requirement to wear masks or to self-isolate after a positive Covid test. But have our lives changed in other ways that will outlive the pandemic? Have our habits changed for good?

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‘The ultimate single woman’s icon’: how Mrs Maisel is an inspiration across the years

From defiantly turning her back on male approval to her seamlessly snappy defiance of the ‘women aren’t funny’ trope, Midge is a warrior whose example still resonates

The best line so far in The Marvelous Mrs Maisel – the Emmy award-winning comedy drama about a New York-50s-housewife-turned-standup-comic – isn’t a joke she delivers in a set on a dingy club stage. It isn’t even one of the endless, off-stage zingers by creator Amy Sherman-Palladino (also behind Gilmore Girls). It is, in fact, the searing three-word reply that Midge (Rachel Brosnahan) fires at her husband, Joel (Michael Zegen), halfway through season one, when he asks why she won’t give their marriage another shot: “Because you left.”

In that moment, Mrs Maisel becomes the ultimate single woman’s icon. In a world that measures her success and identity by her marital status, she makes the decision to be a single mother and blindly embrace whatever is ahead. While the social stigmas attached to being unmarried might have relaxed since Midge’s time, the reality today is this: in 2019 five hospital trusts and six clinical commissioning groups banned single women from accessing IVF; our prime minister once said the children of single women are “ill-raised, ignorant, aggressive and illegitimate”; single people feel priced out of owning a house while couples have a double income; and – take it from someone who knows – if you’re not standing on a soapbox shouting “single, fierce and independent!”, friends and family assume you’re sitting at home feeling sad with the cat (or without the cat, because the landlord won’t allow it).

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‘Oh my God, I’m having sex again!’: Yellowjackets’ Melanie Lynskey on raunch, rage and the rise of Kate Winslet

After 30 years of critical acclaim, the actor has finally found mainstream success at 44. She talks about Hollywood’s dangerous beauty standards, turning down misogynistic scripts – and why her TV show about possible teenage cannibals is so much fun

It would not surprise me if Melanie Lynskey had deliberately matched her pale blouse to the pale curtains behind her, and her pale complexion, the better to blend into the background. After 30 years of critical acclaim, but not mainstream fame, Lynskey is getting noticed and it feels very, very strange to her. Her show, Yellowjackets, has steadily become a hit. Lynskey is not quite the lead in this ensemble piece, but near enough, as one of four fortysomething women who survived a plane crash as teenagers, and went through some savage stuff, involving murder and almost certainly cannibalism.

Likened to a mix of Lord of the Flies, Lost and Mean Girls, with a pleasing amount of 90s nostalgia, it has become one of the most talked-about shows of the moment. “It’s funny to be on something that people are watching,” Lynskey says with a laugh. “It’s a different experience.”

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‘It’s Tiger King meets Ace Ventura’: the wild true story of the world’s biggest insect heist

From snails the size of dogs to the most venomous arachnids on the planet, the true-crime series Bug Out profiles the bizarre investigation into a robbery at the US’s first bug zoo

A room swarming with thousands of giant, exotic creepy-crawlies may sound like your worst nightmare (or one of Ant and Dec’s Bushtucker Trials on I’m a Celebrity). It is also the starting point for Bug Out, the latest bizarre true-crime documentary series, which is set in the US’s first bug zoo, the Philadelphia Insectarium & Butterfly Pavilion. Prepare for a mystery with more twists than a worm colony.

The show focuses on the moment in August 2018 when the museum’s boss, Dr John Cambridge, arrived at work and did a double take when he realised his room, that ought to have been full of critters, was suddenly empty. Glass tanks were upended, shelves bare, displays cleared out. Thousands of live bugs, worth an estimated $50,000 (£38,000), had been stolen. It was the biggest insect heist in history.

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This Is Going to Hurt’s Ambika Mod: ‘Whenever I did a caesarean I was buzzing!’

Playing junior doctor Shruti is a far cry from the standup’s ‘really silly’ sketch comedy but her improv background helped her find moments of levity in Adam Kay’s NHS drama

When Ambika Mod was cast in This Is Going to Hurt, Adam Kay’s TV adaptation of his diaries as a junior NHS doctor, it was late 2020 and health workers were facing a new Covid wave. “It felt like, now more than ever, it was an important story to tell,” she says. “I was filled with fear because of the sheer responsibility.”

Mod plays Shruti Acharya, a junior doctor under the tutelage of Adam (played by Ben Whishaw). “It’s so rare to see a well-written, complex, young south Asian female character,” she says. “Her arc is so brilliant.” The character is an amalgamation of people Kay worked with. “I share a lot in common with Shruti,” says Mod. “We’re both young Indian women, we’re both children of immigrants, so Adam was really receptive to my thoughts. I remember him saying: ‘If Shruti doesn’t make sense to you, she’s not going to make sense to anyone.’”

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‘All that Hollywood glamour doesn’t feel like me at all’: Joanna Scanlan on self-doubt, sexism and being the red-hot favourite at the Baftas

After years of great roles in comedies such as The Thick of It and Moving On, the actor is now being feted for her devastating dramatic performance in After Love. She talks about ‘serious’ acting, a breakdown in her 20s and learning to fight for herself

When Joanna Scanlan arrives, she is hidden beneath a yellow raincoat, glasses steamed up, blown through the door as if the gathering storm outside has washed her ashore. “I am so sorry for dragging you out here,” she says, laughing slightly hysterically, as she sheds the layers. Scanlan is filming in rural Wales – she, her husband and their dog are renting a cottage nearby – and this cafe, also in the middle of nowhere, was her suggestion. Even the women who work in the cafe were surprised to be called in. We are the only customers, but there are pots of tea and welsh cakes, and Scanlan is great company, so all is well.

She grew up in Wales, so this job – filming The Light in the Hall, a psychological thriller, for which she has had to learn some Welsh – is something of a homecoming. Being here is also a detachment from London, and everything that goes with her job outside of being on set or stage – the bit, you sense, she could take or leave. And so she’s a bit distanced from the buzz around her Bafta nomination for best actress for her role in the extraordinary film After Love. “When you sit here in Tywi Valley, just learning your lines for tomorrow, it’s hard to take that in,” she says. “I feel very long in the tooth to be coming to this sort of prominence.”

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Charlie Brooker: ‘Mr Dystopia? That makes me sound like a wrestler’

As he releases the latest fruits of his new megabucks deal with Netflix – an interactive cartoon about a cat – the Black Mirror creator discusses gaming, nuclear war, and why his generation has wrecked the UK

Charlie Brooker is sitting at a desk, a big cardboard box in the background, miscellany spilling out of bookshelves. “What you can’t see,” he says, since we’re on Zoom, “is all the shit all over my desk. I’m shambolic.”

He got his first gig doing a comic strip when he was 15, for 80 quid a week; he dropped out of Westminster University as the only dissertation he wanted to write was on video games, and scrambled into a career in journalism – “there was no planning, I wasn’t somebody who was out hustling” – via working in a shop and writing video game reviews. He shifted, via Screenwipe, Gameswipe, Newswipe and Weekly Wipe, into screenwriting, and achieved astonishing success with the anthology series Black Mirror. His production company with Annabel Jones, Broke and Bones, has just been bought by Netflix for an unspecified sum; the rumour is that it’s so enormous that, well, I had to get out a calculator to work out what “nine figures” over five years means ($100,000,000). I just can’t wrap my head around why he still has Billy bookcases from Ikea.

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‘It’s the end of a big adventure’: Cillian Murphy bids farewell to Peaky Blinders

Cillian Murphy’s icy stare has transfixed viewers around the world as Brummie gang boss Tommy Shelby in Peaky Blinders. As the stellar series reaches its finale, he talks about music, empathy and trying not to overthink things

Cillian Murphy pops up on screen with the discomfited gaiety of a man about to submit to dentistry. He is courteous and friendly, but without ever quite shaking off the impression he would rather be almost anywhere else. It’s just before Christmas, and the rampant Omicron variant of Covid-19 has put paid to in-person meetings. You don’t get the impression Murphy minds too much. At a Zoom’s remove, he sits back in his chair, hair restored to luxuriant cruising length after the savage chop required for Peaky Blinders. His storied peepers – organs that have inspired countless column inches and exhaustive maritime imagery – are, for once, hard to discern.

I recognise the spare white wall behind him, which is decorated with a poster for the band Grizzly Bear and a painting. This must be his famous basement. In the Dublin home he shares with his wife, Yvonne McGuinness, an artist, and their teenage sons Malachy and Aran, the basement is Murphy’s fortress of solitude. He has spent a lot of time here over lockdown, noodling around on guitars, scrolling the news about the pandemic and recording impressively eclectic radio programmes for BBC 6 Music.

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‘The history of fantasy is racialized’: Lord of the Rings series sparks debate over race

Introduction of characters of color into Tolkien’s fantasy world has some fans complaining but as others point out, it’s not less authentic to cast Black actors

As the new Lord of the Rings series gears up for its September launch on Amazon, the company finds itself navigating treacherous, if familiar, waters and has already triggered a fierce debate over race by introducing characters of color into JRR Tolkien’s fantasy world.

The tech giant has spent a dragon’s dungeon of gold on adapting the beloved story famous for its cultish fans, some of whom are deeply enmeshed in the rightwing culture war industry. Yet it is fully aware its final product has to reach a broad and modern audience to justify its eye-popping expenditure.

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Lindsey Pearlman, US TV actor, found dead after being reported missing

  • Pearlman, 43, appeared in General Hospital and Chicago Justice
  • Los Angeles police said Pearlman had failed to return home

Lindsey Pearlman, an actor known for television series including General Hospital and Chicago Justice, was found dead in Hollywood several days after going missing, authorities and her husband said. She was 43.

“Today around 8.30am, Hollywood area officers responded to a radio call for a death investigation at Franklin Avenue and North Sierra Bonita Avenue,” Los Angeles police said on Friday.

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Bob Odenkirk on Better Call Saul and surviving a heart attack: ‘I have to keep going. Life is great’

Having escaped an ‘existential lightning bolt’, you might expect the comic actor to be slowing down. You’d be wrong

For at least a couple of weeks after it happened, Bob Odenkirk couldn’t remember he’d had a heart attack. He would wake up, feeling pretty good, and think about heading to work. “And everyone would say: ‘Calm down, you had a heart attack,’” he recalls. There is an absurdity to this daily revelation of bad news that I think Odenkirk – a connoisseur of the absurd – might enjoy.

“Here, let me show you this,” he says. “This is something my daughter made for me because every day was the same thing of not remembering.” He gets out his phone and finds a picture he took of a whiteboard with a timeline of the events of that week or so in July last year – collapsing on the set of his TV drama Better Call Saul, hospital, his family arriving – so that Odenkirk would know what had happened. He holds it up to the screen. On day one, she has written “die” (the quote marks are hers).

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The Cuphead Show! review – this fast, funny spin-off has perfected the original video game

Netflix’s giddy, knowing adaptation sees the indie game reach its ideal form: a cartoon that has great fun splashing around in the tropes of 1930s animation

Few video games in recent years have managed to equal the sledgehammer disappointment of Cuphead. For those of you not in the know, Cuphead was an independent 2017 game that captured gamers’ imagination like little else before.

This was almost entirely down to how it looked. An out-and-out love letter to 1930s cartoonists such as Max Fleischer and Grim Natwick – with a main character inspired by a 1936 Japanese propaganda cartoon about an invasion of an evil Mickey Mouse army – Cuphead thrummed with a gloriously authentic Betty Boop feel. The animations were hand-drawn and imperfect. The big-band jazz soundtrack was recorded on analogue. The voices crackled and hissed as if recorded from worn vinyl. No detail was spared, to the extent that the creators had to remortgage their home to pay for it. And people fell for Cuphead hard. After some initial footage was shown as proof of concept, anticipation hit fever pitch and stayed there for three years.

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‘Childbirth as it really is’: This Is Going to Hurt actor defends series accused of misogyny

Ambika Mod, who plays stressed junior doctor, reacts to criticism that BBC drama disrespects women

It is the TV drama that has divided its viewers. Hailed by some as a brutally accurate depiction of the realities of working in an NHS maternity unit, This Is Going to Hurt has been denounced by others as misogynistic and insulting to women giving birth.

Now the actor who plays an exhausted and stressed female junior doctor in the show has rejected criticism of the BBC series set on an NHS obstetrics and gynaecology ward.

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The Tinder Swindler fallout shows the dark side of Netflix fame | Adrian Horton

The subject of the hit documentary, who conned women out of hundreds of thousands, is trying to launch a celebrity career, a depressing but inevitable next step

When I first watched The Tinder Swindler last month, in anticipation for an interview with director Felicity Morris, I was, like many viewers, completely absorbed by the story.

Several women meet a man on Tinder who claims to be the billionaire heir to an Israeli diamond fortune, lavishes them with attention, flies to them on actual private jets, then swindles them for hundreds of thousands of dollars? I’m a single woman in my late 20s in New York: of course I ate it up. The documentary was also much, much better than it could have been; I appreciated that Morris didn’t have much interest in probing the psychology of its swindler, Simon Leviev. Instead, she foregrounded three women’s first-person accounts of getting conned – why they believed him, why they cared for him, what such manipulation and confusion does to someone – as well as the journalists at the Norwegian paper VG who unspooled his lies for an initial exposé in 2019.

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The Marvelous Mrs Maisel season four review – the zip and bounce are back!

After a meandering third season, Rachel Brosnahan is back on ferocious form as a ‘girl comic’ fighting to regain her career

After a treacly, uneven third season, The Marvelous Mrs Maisel (Amazon Prime) appears to have found its fangs again. “Revenge … I crave it. I am completely consumed by the need for it,” purrs Midge/Miriam (nobody seems to call her Midge any more), rediscovering her sharp edges, now back on a small stage in a dingy nightclub, with an act that is heavy on the F-word. This show is never better than when Miriam is having to fight tooth and nail for her spot in the limelight, and it is a welcome relief to see her having to do it again. “That’s life. Shit happens,” she declares, ending the routine on a surprisingly acerbic note.

I say surprising because, while the first two seasons were a lot of fun, Mrs Maisel found herself in a rut during the third, which paired huge set pieces with a meandering plot and episodes that felt far longer than they were. Season three all-but guaranteed that Miriam was going to make it big, until her seemingly certain path to stardom and home ownership hit not so much a road block as a solid brick wall, when she accidentally(ish) outed the biggest star in the world to his adoring audience. It appears that few picked up on the Judy Garland references that felt a little ahead of their time, but it was enough to get her fired from her fame-making tour, and bring her back to where it all started.

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‘The sprites clearly do not look like actual lemmings’: the inside story of an iconic video game

Dodgy graphics, mysteriously sourced computers and a bemused artist: a new Youtube documentary celebrates 30 years since the release of computing classic Lemmings

When you try to describe the much-loved video game Lemmings, it sounds like a wind-up. Your mission: herding a collection of tiny, green-haired, blue-jumpered, bipedal sprites from a trapdoor entrance to a safe exit without them dying horribly. It looked, if not bad, then wilfully basic even for 1991. But, released years before mobile phone games were a thing, it was nonetheless a fiendishly addictive game that feels like the spiritual precursor to the likes of Angry Birds. And it was manna to many, many kids like me, whose sole household computing device was a rubbish PC with a horrible four-colour CGA screen that basically couldn’t play any video game of the time … except Lemmings!

To mark 30 years since its release, Exient – current holders of the franchise – has made a YouTube documentary about it. Made remotely, Lemmings: Can You Dig It? largely consists of interviews with the people involved in the creation of the original game, plus spirited nostalgic interjections from various nerdy talking heads.

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‘At 6pm every evening the screen went blank’: the outlandish tale of the UK’s TV blackout

It’s 65 years today since television sets had to stop broadcasting to allow parents to put children to bed. How did it ever seem like a good idea?

In 1953, when Norma Young was seven, her family became the first in their Glasgow tenement to get a TV set. It was a big deal – the Youngs had had to choose between a car or a TV. They opted for a 14in Ekco TV as deep as it was wide – and Norma was opened up to the world of The Woodentops and Andy Pandy, two shows that rapidly became her favourites. But at 6pm every evening the screen went blank, and Norma’s viewing was at an end.

This wasn’t her parents regulating her TV time – it was the state. Abolished 65 years ago on Wednesday, the break in programming between 6pm and 7pm every night was a government policy, known colloquially as the toddlers’ truce.

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