On my radar: Aidan Moffat’s cultural highlights

The Arab Strap vocalist on late-night horror chats with his mum, spending time with Alan Partridge, and bingeing on Succession

Born in Falkirk, Scotland, in 1973, Aidan Moffat is the vocalist of indie rock band Arab Strap, which he founded in 1995 with Malcolm Middleton. Characterised by Moffat’s half-spoken vocals over lo-fi instrumentation, the band gained international acclaim with 1996 single The First Big Weekend; they went on to release six studio albums before splitting in 2006 and reforming in 2016. Since 2002, Moffat has released music under the name L Pierre, and collaborated with artists including Mogwai and Bill Wells. Arab Strap’s first album in 16 years, As Days Get Dark, is was released this month on Rock Action.

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‘We know exactly what we want to say’: inside a film that normalizes stuttering

Stuttering affects one in 20 children, yet is still stigmatized, something the documentary My Beautiful Stutter hopes to correct

One of the most moving scenes in My Beautiful Stutter, a documentary now streaming on Discovery+, involves just a microphone and an open stage. Many of the attendees at Camp Say in Hendersonville, North Carolina, a getaway for youth who stutter hosted by the New York-based organization the Stuttering Association for the Young, grew up feeling broken or confused, ostracized by a neurological disorder that tangles the flow of fluent speech. Some campers recite poetry, others get through just their name before breaking into tears, all afforded the space to speak rarely given in the non-stuttering world (what can take a non-stutterer a minute to read or say could take a person who stutters 10 times as long). Tears abound; the scene hums with the bottomless human desire, felt most acutely as a teenager, to be seen, heard, loved, accepted.

Related: 'They become dangerous tools': the dark side of personality tests

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Australia in Colour: recolourised film ushers into existence a new kind of fiction

As the new series of SBS’s film revitalisation project airs, Guardian Australia’s film critic considers the consequences of this trend in film-making

Paolo Cherchi Usai – the Italian curator and former head of the National Film and Sound Archive of Australia (NFSA) – once put forward an elegant definition of moving image preservation, calling it “the science of gradual loss and the art of coming to terms with its consequences”. Those melancholic words present the dispossession of our celluloid and digital pasts as inevitable, and efforts to maintain them a will-o’-the-wisp exercise: impossible to achieve, like reaching the gold at the end of the rainbow.

But loss is far from the first thing that comes to mind after watching the second season of SBS’s four-part documentary series Australia in Colour. Separated into different themes, the first episode is devoted to family, exploring issues such as changing gender roles, the stolen generations and the arrival of contraceptive pills; the second, about sport, investigates national heroes and drinking culture.

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‘We knew so little’: the young film-makers who captured early quarantine life

HBO’s Covid Diaries NYC stitches together five documentary shorts by film-makers between 16-22, covering the dizzying, surreal first days of the pandemic

The middle of March 2021 will bring, for most Americans, a strange, surreal anniversary: the year mark of the horrifying realization – be it through a tweet, a cancellation, a diagnosis of a loved one or a celebrity, a lost job or gig – that the coronavirus was a very real threat that would implode the world as we knew it. For Aracelie Colón, then a 16-year-old high school junior in Manhattan, it was the email announcing a two-week closure from school. For fellow high school junior Shane Fleming, it was the positive diagnosis of a classmate and the closure of the Film Forum, where the movie buff caught a final feature showing on 14 March. For Arlet Guallpa, then 22, it was an ambulance outside her building in Washington Heights, fetching the first of many residents who would succumb to the virus.

Related: 'They refused to act': inside a chilling documentary on Trump's bungled Covid-19 response

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The Sopranos: David Chase and mobster Johnny Sack on how they made a TV classic

‘Fox turned down the first draft because I didn’t put any murders in it. People watch mob shows because they like to see murders’

I was still writing the pilot episode when Steven Van Zandt – who would go on to play strip-club owner and second-in-command Silvio Dante – came to read for the part of Tony Soprano. I thought: “With Steven, it could be more like The Simpsons: more comedy, less nasty bits, more absurd.” But once we hired Jim Gandolfini for Tony, it all went back to where it started.

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Now there’s no doubt Meghan and Harry had to leave

Caught between a hate-filled media and a terrified royal family, the surprise is not that the couple struck out on their own. It’s that they didn’t escape much sooner

A seldom remembered fact about the royal family is that, before the death of Princess Diana, it was not normal to be interested in them. Tabloids were fascinated, but it was more of a convention than news – like a splash about tomatoes causing cancer, it was the out-of-office auto reply of the industry, a fallback. The family (I seriously dislike the affectation of calling them “the Firm”) survived while there was nothing to see. They were caught between two irreconcilable forces – their own culture of discretion, on one side, and intense, 24-hour scrutiny on the other – and they navigated that with a studied blandness. What did they actually care about? Manners, duty, causes, the Commonwealth. Whatever curiosity surrounded them, they simply did not reward it, and the regular response to that, after a few centuries and whatnot, was to not be terribly curious.

You may recall David Blaine, the magician who lived in a glass box above the Thames for 44 days in 2003: people really wanted to know what he was doing, even though we could see what he was doing – and that was mainly nothing. There grew a peculiar resentment of gawping at something that was only interesting because it was untouchable. But we could see for ourselves that it was not interesting – and then everyone got annoyed and some of us (not me) threw eggs. Eventually, hawkers started selling eggs. That pretty much sums up the experience of the royals pre-1997.

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Clara Amfo: ‘Don’t make me dim my light’

For Clara Amfo, success is nothing without honesty, integrity – and a pinch of impostor syndrome. Here, the broadcaster talks about race, relationships and becoming a Barbie doll

Clara Amfo makes me want to join in with life. When she talks about the new series of Drag Race UK, I itch to go and watch it. When she’s dancing on Strictly, I want to tune into a show that doesn’t usually hold my attention. And when she’s describing the party scene in her parents’ home country of Ghana, “fast becoming the Ibiza of West Africa – honestly I was last there in December 2019 and everyone was out there”, I find myself wondering about flights. Which is quite something, a year into a pandemic, when spirits are flagging and the will is so weak it might give up entirely. But she knows all about that too, which is why her daytime Radio 1 show, every weekday, works so well.

People text in saying they live alone, they work from home, they just needed to hear that tune she played, that friendly voice. Amfo physically gets up and goes in to work at Broadcasting House, speaking to the nation and meeting the skeleton crew who are still in the building, under endless Covid-testing regulations, “but I do live alone, and I get it,” she says. “I know I have definitely experienced loneliness in this thing. At the risk of sounding trite, well it’s been a time of gratitude, hasn’t it? – but I also believe that everybody, no matter what your life or what you do for a living, should be allowed to have a moan. I’m single and happily single but there have been a few nights where I’ve been like, you know what? Be nice to have a sofa buddy,” she explains, over video chat from the one-bedroom flat in Hackney that she got in a part-buy, part-rent housing scheme seven years ago and that she has grown out of, but not yet managed to leave. (It hasn’t always been thus – “Many memories were made in this flat, that’s for sure,” she says, with a dirty laugh.)

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‘You think: are we really doing this?’: how TV’s strangest shows get made

Who green-lit The Masked Singer, or dreamed up a dating show about Prince Harry? Insiders reveal how madcap ideas go from page to small-screen sensation

Nine years ago, TV developer Park Won Woo was taking a break in a car park after shooting auditions for a South Korean talent show. He had worked on number of similar programmes throughout his career, but had come to feel uneasy about their format. “They’re not always fair,” he recalls thinking, because on numerous occasions, people seemed to win because of their looks, not their talent. A solution popped into his head: what if the singers wore masks?

For three years, nobody wanted Park’s show, the idea for which evolved to feature celebrities behind the masks. The 48-year-old had 24 years’ experience in the TV industry, but his idea was rejected by network after network. “I felt sheer desperation,” he tells me.

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‘I was worried Lindsay, Paris or Britney would die’: why the 00s were so toxic for women

Body shaming, media harassment, relentless cruelty – it’s time to reassess the decade that feminism forgot

I went to university in 2007. On my first day, every fresher had their photo taken; the pictures were pinned to a bulletin board in my halls. That evening, older male students scrawled on the photographs of the girls, rating our attractiveness. No one got in trouble. Later, the same men published a gossip magazine that Photoshopped images of female students on to porn stars, dissected our sex lives and made rape jokes. The magazine was printed using university funds. No one got kicked out. None of this seemed particularly objectionable to me, an 18-year-old girl. This was just the way things were. Internalised misogyny ran deep in the 2000s. Hell, I was just happy I got a high score on my photograph.

Related: The Guide: Staying In – sign up for our home entertainment tips

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‘A symbolic moment’: Harry and Meghan’s Oprah interview marks turning point

The conversation, expected to draw millions of viewers, could mark the transition from royalty to Hollywood elite

It may be an American coronation of sorts.

When Oprah Winfrey’s highly anticipated and potentially explosive interview with the Duke and Duchess of Sussex airs in its primetime spot on Sunday evening, millions across the US are expected to watch. It will be the couple’s first interview since since stepping back from their royal duties in early 2020, but it could also mark the moment that the Sussexes evolve from British royalty to Hollywood elite.

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Kelly Macdonald: ‘I’m beyond sex scenes now. I just play detectives’

She shot to fame in Trainspotting, and has starred in Gosford Park, Boardwalk Empire and even as a Disney princess. So why did the Scottish actor panic about her new role in Line Of Duty?

Kelly Macdonald’s roles are typically quiet, fraught with internal conflict and entailing journeys that are more reflective than active. As a grieving mother in The Child In Time, a gangster’s wife in Boardwalk Empire and the titular role in The Girl In The Cafe, the 45-year-old has, over the last 25 years, become known for the kind of thoughtful performances signified by the image of a woman staring out of a window. All of which makes our encounter today doubly surprising; that Macdonald, appearing via Zoom from her home in Glasgow, is here to talk about Line Of Duty, possibly the least reflective TV show ever made. And that she is a complete hoot.

Her role in Line Of Duty has, over the course of the show’s six seasons, become a coveted one in British telly – that of the guest star brought on as a no-good cop to be investigated by AC-12, the show’s now iconic anti-corruption unit. (Previous incumbents in the just-how-bent-is-she role include Keeley Hawes and Thandie Newton.) Line Of Duty’s twists are legendary, and the embargos fierce, and, following the rollercoaster of season five – in which we grappled, briefly, with the possibility that Supt Hastings (Adrian Dunbar) himself was bent – we meet Macdonald in season six as DCI Jo Davidson, getting stuck into a case. And that is pretty much all, ahead of transmission, the BBC will permit either of us to reveal, which makes Macdonald crack up every time she thinks of it. “It’s hilarious that they sent me a list of things I’m not to talk about, when I can’t remember any of it.”

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Poly Styrene’s inspiring sensitivity should be the true legacy of punk

Mixed race, with braces on her teeth, Poly broke the mould of UK punk. A new documentary explores her struggle to find meaning in the Day-Glo chaos of modern life

The moment I heard that Marianne Elliott-Said, AKA Poly Styrene, had died, I was at band practice. We put on X-Ray Spex and jumped around, screaming along to Identity, Oh Bondage Up Yours! and Germ Free Adolescents. On that day in 2011 we lost one of punk’s greatest heroes and one of the few who really looked and sounded like me. She broke the mould of UK punk stereotypes. She was brown, chubby, weirdly dressed and had braces on her teeth. Even in an era when quirky, abrasive style was all the rage, she stood out.

Poly Styrene embraced this. She played with the attention her weirdness attracted, making a cartoon of herself. To be an artist is often to feel like a shiny trinket – hip and trendy one moment and disposable the next – and Poly had a fascination with all things garish and throwaway. She knew that through selling her art, she herself would inevitably become the product. Consumer culture overwhelmed and horrified her at times but she poured those thoughts and feelings into surrealist, confrontational art and music.

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‘They become dangerous tools’: the dark side of personality tests

In the documentary Persona: The Dark Truth Behind Personality Tests, the discriminatory nature of a widely used tool is put under the microscope

Scrolling dating apps in 2015, Tim Travers Hawkins didn’t know who his type was. He didn’t even know what a type was. Hawkins, a British film-maker then new to New York, “noticed something that was very different to people’s profiles in the UK and that was the use of these four letters,” he said to the Guardian. Curious, he looked it up. “I was like, ‘Huh, that’s different’.”

Related: 'We're all part of the story': behind Will Smith's 14th amendment docuseries

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Allen v Farrow is pure PR. Why else would it omit so much?

The new HBO documentary in which Mia and Dylan Farrow revisit their 1992 allegation against Woody Allen claims to be an even-handed investigation. But its failure to present the facts makes it feel more like activism

“HBO Doc About Woody Allen & Mia Farrow Ignores Mia’s 3 Dead Kids, Her Child Molester Brother, Other Family Tragedies” was the headline on one US showbiz site, above its review of the four-part documentary, Allen v Farrow, about the continuing battle between Woody Allen and Mia Farrow, now entering its fourth decade. But this review was very much an outlier. In the vast main, reaction to the strongly anti-Allen series has been overwhelmingly positive, with Buzzfeed describing it as a “nuanced reckoning” and Entertainment Weekly comparing it to the recent documentaries about Michael Jackson and Jeffrey Epstein. This reaction is more of a reflection of the public’s feelings towards Allen – particularly in the US – than of the documentary, which sets itself up as an investigation but much more resembles PR, as biased and partial as a political candidate’s advert vilifying an opponent in election season.

Related: Allen v Farrow review – effective docuseries on allegations of abuse

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Galician noir: how a rainy corner of Spain spawned a new TV genre

Spanish dramas such as Money Heist have been taking the world by storm in recent years. But why are film-makers now flooding to the country’s north-west to make their shows?

Rosa Vargas’s arrival in a small town in north-western Spain to investigate the disappearance of a young girl marked an unlikely milestone. Vargas is the fictional police detective in O sabor das margaridas (Bitter Daisies), which, in 2019 became the first series in Galician, a language spoken by fewer than 2.5 million people, to be broadcast by Netflix. The series became one of the top 10 most-watched non-English language shows in the UK and Ireland just a month after its international release.

A decade after Nordic noir captured the attention of international TV audiences, a TV genre some are calling “Galician noir” is emerging from the rainy corner of Spain. HBO made its debut in the Galician language last year with a Spanish-Portuguese miniseries Auga seca (Dry Water), a murder mystery set in the port city of Vigo, and was soon followed by the Galician-produced police thriller La unidad (The Unit) on the Spanish subscription platform Movistar+. More recently, El desorden que dejas (The Mess You Leave Behind), based on a novel by the screenwriter Carlos Montero, premiered on Netflix in December.

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Golden Globes 2021: Nomadland and The Crown major winners

Netflix royal drama and Chloe Zhao were toast of the night amid technical difficulties and against background of diversity issues

With spotty wifi, lagging sound and Zoom chaos, the 78th Golden Globes was a half-virtual ceremony once again dominated by British stars but marred by technical difficulties and renewed scrutiny on the awards’ lack of diversity.

Related: The full list of Golden Globes 2021 winners

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Other TV is available: did Netflix sweep the Golden Globes by default?

The absence of I May Destroy You was the most memorable part of the small-screen awards, where voters had seemingly binged the biggest streaming hits – and little else

It has always been hard to care about the Golden Globes, and God knows that it’s difficult to rouse the enthusiasm to care about anything one year into a pandemic. So, in truth, last night’s special pandemic edition of the Golden Globes – an entertainment awards show made in a year when most entertainment has either been cancelled or postponed – barely even deserves acknowledgment.

In fact, if last night’s show will be remembered for anything at all – which in all honesty seems like a stretch – then it will be the swirl of controversy that engulfed its nominations. In summary: when its shortlists were announced, the best TV show of the year (I May Destroy You) was nowhere to be seen. But the worst TV show of the year (Emily in Paris) was. It’s also worth noting that many lavish treats were gifted to voters by the production a year ago. All that, plus it was just revealed that not a single black person participated in the voting process.

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Judge Judy: ‘Are my feelings PC and kumbaya? No. They are realistic’

Her TV show has been No 1 in the US since 1998, but many have criticised her approach to justice. As she hangs up her gavel after 25 years, she discusses wealth, success and repentance

Order, order. Court is in session, Judge Judith Sheindlin presiding, and while you are here you will follow her rules.

Don’t throw paper on the floor. Hang on to your gum wrapper until you get to a bin. Don’t befoul your community. Try not to scratch other people’s cars and, if you do, leave your details on the windscreen. Don’t tell lies. Confront your problems and try to solve them.

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Oprah with Meghan and Harry: masterstroke or disaster?

The Sussexes are the latest in a line of celebrities to try to rebuild their image by talking to the chatshow queen

You could have forgiven the British royal family for giving primetime, tell-all interviews a wide berth for the foreseeable. The evisceration of Prince Andrew by the BBC’s Emily Maitlis in 2019 managed to achieve the near-impossible: making the Duke of York appear more dubious and less sympathetic.

But if we have learned one thing about the Sussexes, Harry and Meghan, it’s that they are intent on doing pretty much the opposite of what the other royals want them to do. So next Sunday, 7 March, a 90-minute special, Oprah with Meghan and Harry, will air on the US network CBS. There is also understood to be a bidding war between UK broadcasters – though not the BBC – for the interview, which, it is promised, will be “intimate” and “wide-ranging”.

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It’s time to face up to colourism | Candice Brathwaite

As I grew up, the majority of black women I saw on TV were fair skinned. Those who looked like me were never cast as the lead

I’ve been building a profile as a writer and broadcaster long enough to know that there will be public storms. Some creep up on you, others you sense brewing, and some have been lingering in the background for a lifetime.

A couple of weeks ago, I posted on social media about having “lost out” on hosting a documentary to a lighter-skinned black woman. The subject of the documentary was maternal mortality in the UK, and the harrowing fact that black women are five times more likely to die in childbirth than white women. This is something I have campaigned on for several years, wrote about in my book I Am Not Your Baby Mother and experienced first-hand when I almost died a few days after the birth of my first child in 2013.

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