And Just Like That: bad jokes are the least of its problems

Some franchises cannot endure, it turns out – but, happily, old box sets live forever

Good sex, like good comedy, relies on timing, and maybe, 17 years after the original show ended, 11 years after the second film departed cinemas, Sex and the City no longer has its finger on the clitoris when it comes to timing. “And Just Like That, It All Went Wrong” was the New York Times’s verdict on the wildly publicised, moderately anticipated SATC follow-up series, And Just Like That, which debuted its first two episodes this week. The Guardian’s Lucy Mangan described it as at times “excruciating”.

Certainly the jokes are bad. Not “Lawrence of my labia” bad, as Samantha (Kim Cattrall) notoriously said in Sex and the City 2. But a far cry from the spit-out-your-wine-with-laughter-and-shock level of the original show, which ran from 1998 to 2004. And that’s the least of its problems.

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‘Just for the fun of it’: Countdown star, 17, targets more TV success

Eton scholar Jasamrit Rahala, a Child Genius finalist at 10, is in the knockouts and already looking for his next test

If TV quiz fans think Jasamrit Rahala’s face looks familiar, they would be right.

The 17-year-old from Slough has reached the knockout finals of Channel 4’s Countdown, having been a fan of the programme since primary school. But for Jasamrit, identified as a maths prodigy aged nine, Countdown is just the latest in a string of gameshow endeavours, having become the youngest finalist on Child Genius aged 10 and competed in Britain’s Brightest Family.

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Madness in their method: have we fallen out of love with actorly excess?

The Succession star Jeremy Strong has been widely scorned after a magazine profile revealed his ‘preening’ and ‘self-indulgent’ acting process. But many actors have been lauded for their method – so what has changed?

Robert De Niro is the greatest actor of his generation. So claimed the headline in a popular magazine last year, and it’s not a controversial claim. The evidence offered for this opinion was the same that’s always wheeled out when discussing De Niro’s acting: “[He] took method acting to previously uncharted levels. He got a New York cab licence for Taxi Driver, learned Italian and lived in Sicily to prepare for The Godfather Part II, put on 60lbs to play Jake LaMotta in Raging Bull, learned Latin for True Confessions and the sax for New York, New York. He was the hardest-working man in Hollywood,” wrote the journalist.

For decades, this has been the general feeling about actors: the more method, the better. After all, if they don’t eat raw bison and sleep in an animal carcass (Leonardo DiCaprio in The Revenant), stay in a wheelchair and be spoonfed by the crew (Daniel Day-Lewis in My Left Foot) or lose so much weight that they start to go blind (Matthew McConaughey in Dallas Buyers Club), they’re just playing make-believe. And why should they get all that fame, adoration and money just for that? All of the above actors were rewarded for their efforts with an Oscar, and actors talking about their method efforts has become as much a part of the run-up to the Oscars as shops playing Do They Know It’s Christmas in the run-up to the holidays.

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And Just Like That review – Sex and the City sequel has a mouthful of teething troubles

Carrie and co are back and having excruciating ‘learning experiences’ to haul themselves into modern times. But there are reasons to be hopeful!

Warning: this review contains spoilers from the first episode of And Just Like That.

The first 20 minutes of the long-anticipated, much-hyped reboot of Sex and the City, And Just Like That (Sky Comedy/HBO Max), are terrible. The Manhattan streets are alive with the sound of crowbars jimmying more exposition into the dialogue than Carrie’s closet has shoes. Samantha’s absence (Kim Cattrall declined to take part in the new show, apparently as a result of longstanding animus between her and Sarah Jessica Parker) is briskly dealt with. She moved to London (“Sexy sirens in their 60s are still viable there!” says someone with their tongue not firmly enough in their cheek) in a fit of pique after Carrie told her she didn’t need her as a publicist any more. That this does not square with anything we have ever known about Samantha apparently matters not a jot.

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‘The Wizard of Oz of entertainment’: the incredible career of Robert Stigwood

He managed the Bee Gees and created Saturday Night Fever but the closeted impressario ‘never felt that sense of success’ according to a new documentary

According to film director John Maggio, two types of executives run the entertainment industry – one far rarer than the other. “The vast majority of them don’t know what’s good, or what will be a hit, until ten other people tell them,” he said. “But a few can tell you right away. They’re the visionaries.”

For an extended time, one of the most clairvoyant was Robert Stigwood. Yet no one had made a feature documentary about him until now. Mr Saturday Night lays out the rocket-like trajectory of this manager turned producer turned impresario who scored hits in the worlds of music, theater, concerts and film. Stigwood’s projects ranged from managing the Bee Gees to running a record label featuring artists like Eric Clapton to producing two of the biggest movies of all time – Saturday Night Fever and Grease, as well as the successful movie version of the Who’s Tommy – to bankrolling smash plays like Jesus Christ Superstar and Evita. “For a time, he was the Wizard of Oz of entertainment,” said Maggio, who directed the film, to the Guardian. “Between 1970 and 1978, he could not not make a hit.”

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‘It’s soul-crushing’: the shocking story of Guantánamo Bay’s ‘forever prisoner’

In Alex Gibney’s harrowing documentary, the tale of Abu Zubaydah, seen as patient zero for the CIA’s torture programme, is explored with horrifying new details

From “a black site” in Thailand in 2002, CIA officers warned headquarters that their interrogation techniques might result in the death of a prisoner. If that happened, he would be cremated, leaving no trace. But if he survived, could the CIA offer assurance that he would be remain in isolation?

It could. Abu Zubaydah, the agency said in a cable, “will never be placed in a situation where he has any significant contact with others” and “should remain incommunicado for the remainder of his life”.

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David Thewlis on new show Landscapers and the misogyny of Naked: ‘I find it much tougher to watch today’

As he stars alongside Olivia Colman in a drama about the Mansfield Murders, the actor talks about his discomfort with Naked, doing night shoots with Julie Walters – and growing old grotesquely

David Thewlis, speaking by Zoom from his home in the Berkshire village of Sunningdale, has set his screen at a jaunty angle. His manner is equable, nerdy, eager to please. Nothing like what you’d expect, in other words – unless you had watched Landscapers, a new four-part TV drama in which Thewlis stars opposite Olivia Colman. Perhaps he’s one of those actors who doesn’t de-role until he’s on to the next character.

Landscapers is true crime, in so far as the protagonists are Susan and Christopher Edwards, the so-called Mansfield Murderers convicted in 2014 of killing Susan’s parents and burying them in the garden 15 years before. Yet it is absolutely nothing like true crime. It jumps through time and genre, smashes the fourth wall then puts it back together as a jail cell. It is vividly experimental yet recalls the golden age of British TV, specifically Dennis Potter and his dreamlike, restless theatricality. “I didn’t think of that while we were making it,” says Thewlis. “But when I saw it, I thought of The Singing Detective – which I was in!”

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Succession recap: series three, episode eight – now that’s what you call a cliffhanger

In the most horrifying episode of the show so far, Shiv and Roman take things too far at the Tuscan wedding, Logan is left incandescent with rage … and then there’s Kendall

Spoiler alert: this recap is for people watching Succession season three, which airs on HBO in the US and Sky Atlantic in the UK. Do not read on unless you have watched episode eight.

Wedding bells were ringing. So were alarm bells in Waystar Royco’s HR department. But is a funeral toll about to ring out, too? Here are your tasting notes for the penultimate episode, titled Chiantishire …

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Chris Noth on feuds, family and Mr Big: ‘I never saw him as an alpha male’

The Sex and the City star is back for the reboot, And Just Like That … He talks about bereavement, rebellion, the fun of acting – and the absence of Kim Cattrall

“I’m not supposed to talk for this long. I told my publicist beforehand: ‘I need to keep this short so I don’t give quotes I’ll regret,’” chuckles Chris Noth.

Too late for that. Ahead of our interview, I had expected Noth – best known as Mr Big from Sex and the City – to be a reluctant interviewee, because that’s how he came across in past articles, especially when he was talking about the TV show that turned him from a jobbing actor into, well, Mr Big. But those were from back in the day, when he bridled at his sudden celebrity. Noth had been in hit TV shows before, most famously when he played Detective Mike Logan for five years on Law & Order. But nothing could have prepared him for Sex and the City.

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Murray Bartlett: ‘Filming The White Lotus in lockdown felt like a TV summer camp’

The Australian actor on creating his character Armond, the magic of Tales of the City and that meme-inspiring suitcase scene

Sydney-born actor Murray Bartlett, 50, made his screen debut aged 16 in medical soap The Flying Doctors. He worked in Australian TV and film before being cast as a guest star in Sex and the City in 2002. Subsequent TV credits include Dom Basaluzzo in HBO’s gay comedy-drama Looking and Michael “Mouse” Tolliver in the Netflix revival of Armistead Maupin’s Tales of the City. This year, he starred as luxury Hawaii spa resort manager Armond in HBO’s hit satire The White Lotus, shown in the UK on Sky Atlantic.

How did you land your role in The White Lotus?
I did a self-tape audition in lockdown, then spoke to [writer/director] Mike White on the phone. Before I knew it, I was on the plane to Hawaii and landing in paradise, which was bizarre and thrilling. There’d been times early in the pandemic when I thought: “Should I get another skill? Maybe acting won’t be a thing any more.” So The White Lotus came as an extraordinary surprise. I felt guilty talking to my actor friends about it because it was such a dreamy job.

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Louis Theroux: ‘I’ve always found anxiety in the most unlikely places’

The broadcaster, 51, talks about his first memories, last meal, lockdown resets and his brainier older brother

I always felt like the second fiddle to my older brother Marcel, who I thought was impossibly brilliant and mature and seemed to be reading more or less from the womb, although I’m two years younger, so I wouldn’t have known that first-hand. I was the sideshow: the funny one, the ridiculous one my grandparents said was “good with my hands”, which at five or six I embraced. It was only as I got older I realised it meant, “might not want to stay in school past 14 or 15”.

From childhood I’ve always found anxiety in the most unlikely places. Aged six I remember watching maypole dancers skipping around and braiding these ribbons into beautiful patterns at my south London primary school and even though I was still in the infants and wouldn’t be doing it for years, I thought, “I’m never going to be able to fucking dance around a maypole.” All through my life I’ve tended to experience future events in a negative way. It’s always been a source of looming discomfiture.

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The girls are back in town! Why the Sex and the City sequel is about to eclipse the original

Grab your Manolos! Carrie and the gang are finally returning in And Just Like That. But, with a more diverse cast and writers’ room, could this reboot be even more radical?

I couldn’t help but wonder – would there really be a ready market for a Sex and the City reboot, nearly 20 years after it left our screens? And then the trailer for the sequel to the culturally iconic series – which ran for six award-laden, press-smothered seasons – arrived, and I realised just how desperately I’d missed it.

Not that I missed it in the usual sense, of course. We live in a world of constant reruns, access to all programmes at all times, YouTube videos to scratch any minor itch and Instagram fan accounts devoted to the characters, the clothes, the men and all points in between. But the hunger for new stories about Carrie Bradshaw and the gang was there, and the trailer reminded me of the best parts of SATC. The energy. The glee. The glamour. The chemistry between the co-stars, and the sight of well-scripted actors at the top of their game. And, to quote the title of the new show, And Just Like That … I was eager for more.

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The world owes Yoko an apology! 10 things we learned from The Beatles: Get Back

Peter Jackson’s eight-hour documentary on the Fab Four reveals Ringo is an amazing drummer, McCartney was a joy and their entourage were coolest of all

The concept for Let It Be was: no concept. The Beatles arrived in an empty studio and wondered where the equipment was. (And revealed that they knew very little about setting up PA systems.) What were they rehearsing for? A show on the QE2? A concert on Primrose Hill? A TV special in Libya? A film? What would the set look like? Would it be made of plastic? Why, George Harrison wondered, were they being recorded? Get Back makes clear that the Beatles didn’t have a clue what to expect from Let It Be.

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‘I’ve never experienced such abject racism’: what it’s really like to work in TV as a person of colour

In the last in our series of exposés about the TV industry, insiders talk about being typecast as terrorists … and constantly having to pretend English isn’t their first language

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

‘He fell on my body then bit me’: what it’s really like to work in TV as a woman

‘I was given training to de-gay my voice’: what it’s really like to work in TV if you’re LGBTQ+

On the surface at least, British TV is finally waking up to race. The success of a new wave of proudly Black British programmes such as Steve McQueen’s Small Axe and Michaela Coel’s I May Destroy You, allied with bold new diversity initiatives such as Channel 4’s Black to Front has had a huge impact in terms of demonstrating the commercial and critical viability of shows centring the Black experience.

At this critical juncture for media diversity, the Guardian spoke to five Black and Asian Britons in the industry about their experiences: the discrimination they have faced and whether they have hope for the future.

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‘I was given training to de-gay my voice’: what it’s really like to work in TV if you’re LGBTQ+

Continuing our series of exposés about the TV industry, insiders talk about being misgendered, treated like sexual predators and having to work with ‘outwardly homophobic and transphobic’ talent

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

‘He fell on my body then bit me’: what it’s really like to work in TV as a woman

Despite an increase in on-screen representation and hits such as It’s a Sin and RuPaul’s Drag Race UK, being LGBTQ+ and working in television can still be difficult. It has been described as a “cloak-and-dagger” industry where most people work freelance and therefore are often afraid to speak up about incidents of homophobia or transphobia. The discrimination and harassment that LGBTQ+ people experience is often horribly insidious; dressed up as “banter” or dismissed as ignorance.

Here, seven anonymous LGBTQ+ people who work in television, in front of and behind the camera, share their experiences.

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Edie Falco: ‘Alcohol was the answer to all my problems – and the cause of them’

One of TV’s most admired actors, she is now playing Hillary Clinton on screen. She discusses overcoming addiction, her adoration for Sopranos co-star James Gandolfini and the pure joy of adopting two children

Edie Falco has never been the type of actor to demand entourages and encores. Fanfares and fuss are just not her bag, and she has little time for pretentious thespiness. When other actors talk about their “Process,” as she puts it – with a capital P – she thinks, “What are you talking about?!” With her open, thoughtful face and wide smile, she looks as if she could be your friend from the local coffee shop, as opposed to one of the most accoladed American actors of this century, having accumulated two Golden Globes, four Emmys and five Screen Actors Guild awards, plus a jaw-dropping 47 nominations. This impression of straightforwardness and – oh dreaded word – relatability has made her subtle performances of self-deceiving characters even more powerful. As the mob wife, Carmela, in The Sopranos, she could tell Tony (James Gandolfini) what she thought of him staying out all night with his “goomahs”, or mistresses, but she couldn’t admit to herself that he does much worse to fund the life she loves. Similarly, as Nurse Jackie, in the eponymous TV series, her scrubbed clean face and sensible short hair belied her character’s drug addiction.

So it feels extremely right that, when we connect by video chat, Falco, 58, is sitting – not in a fancy hotel room, or a Hollywood mansion, but in the endearingly messy basement of her New York house, where she lives with her son, 16, and daughter, 13. Power tools hang off the wall behind her, and she is leaning on a table strewn with what she describes as “God knows, some stuff”.

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‘The women are cannon fodder’: how Succession shows the horrors of misogyny

Season three of the daddy issues drama speaks volumes about the monstrous Man Club that rules society – and even billionaire’s daughter Shiv Roy can’t escape its sadistic clutches

Everyone eats their share of dung beetle surprise on Succession – HBO’s unrepentant daddy issues drama – but the women’s portions come heavily seasoned with the patriarchy’s favourite ingredients: sexism and misogyny. Even billionaire’s daughter Shiv Roy (played by Sarah Snook) can’t escape it. “It’s only your teats that give you any value,” her brother Kendall (Jeremy Strong) shouts after she rejects his offer to join him in another one of his patricidal business plans. Even before then, he couldn’t help but put a pin in her dreams of taking over the company: “You are too divisive … you’re still seen as a token woman, wonk, woke snowflake.”

“I don’t think that, but the market does,” he explains.

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‘He fell on my body, then bit me’: what it’s really like to work in TV as a woman

Continuing our series of exposés about the British TV industry, women remember being assaulted for three years straight, denied work once they became mums and batting off men who are ‘famously handsy’

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

The television industry has a problem with the way it treats women. According to a survey by Film + TV Charity, 39% of female employees have experienced sexual harassment at work, while 67% have experienced bullying. Bectu, the union that supports TV and film workers, found that two-thirds of those who had experienced abuse did not report it for fear of being blacklisted.

Other studies have reported mothers being prevented from working due to childcare issues, and a serious female under-representation in leadership positions, despite Ofcom finding that women make up around 45% of TV roles.

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Vale David Dalaithngu: the inimitable actor who changed the movies, and changed us

The star has left behind a profound body of work – and a permanent, inimitable impression on his industry

In the 1976 classic Storm Boy, the great Yolŋu actor David Dalaithngu delivers a line that became immortalised in Australian cinema. “Bird like him, never die,” he says, describing the pelican Mr Percival.

The substance of that line can apply to the man himself, who will live on through the light and shadow of the cinema, on to which he left a permanent and inimitable impression.

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The world is watching: TV hits around the globe

A Spanish trans woman’s memoirs, a Mumbai gangster drama, Israeli sisters in trouble… the Covid era is a rich moment for TV drama. Critics from Spain to South Korea tell us about the biggest shows in their countries

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