‘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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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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‘The sober fairy gave me one more chance!’ Glee’s Jane Lynch on alcoholism, ambition and the return of Mrs Maisel

The 61-year-old scene-stealer and gay icon is back! She talks about her triumph over sexism, shame and self-doubt

Not so long ago, Jane Lynch was walking her dog, happy as could be, and she paused and said out loud to herself: “God, I love being Jane Lynch.” She laughs at herself. “As if ‘she’ were something outside of me.” But things do seem pretty good: she recently finished her run of cabaret dates with her friend, the actor Kate Flannery. There’s a reboot of the underrated sitcom Party Down coming, and a fourth series of the Amazon show The Marvelous Mrs Maisel is about to start. Lynch won an Emmy for her role as Sophie Lennon, a bawdy superstar comic housewife from Queens (in reality, an upper-class Manhattanite, slumming it for financial gain and self-expression). This year, Lynch takes to Broadway, to be in Funny Girl, the fulfilment, at the age of 61, of a childhood dream. Last year, she got married for the second time. “I live in this really cute house in a little beach town,” she says. “I’ve got a beautiful dog, a fantastic wife.” She seems to marvel at it – she doesn’t sound remotely boastful, just grateful.

Things haven’t always been so good. Lynch has been through divorce and alcoholism – giving up alcohol for the second time only fairly recently, after slipping back into addiction. As a teenager, she carried deep shame about her sexuality. Well into her 30s, she felt lonely and alienated, and it wasn’t until her 40s that her career took off. Lynch might be the perfect embodiment of the idea that It Will Get Better.

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Exploiting the exploited: the problem with Pam & Tommy

The much-hyped show about the theft of Pamela Anderson and Tommy Lee’s sex tape offers a screwball meditation on consent – without the consent of one of its subjects

Pam & Tommy, the Hulu series on the story behind the most infamous sex tape of the 1990s, is disconcertingly fun. The eight-part series created by Robert Siegel, half of which has aired, is front-loaded with 90s iconography and zany gags designed to provoke online discussion. There’s the brain-scrambling transformations of actors Lily James and Sebastian Stan into mid-90s rock it-couple Pamela Anderson and Tommy Lee, and a mulleted Seth Rogen as Rand Gauthier, the stiffed carpenter who pulls off an impressive heist of the couple’s safe, played for suspense. There’s nostalgic needle drops from Nine Inch Nails to Fatboy Slim, a conversation between a high Tommy and his animatronic penis, and plenty of sex, drugs, videotapes and characters asking, with winking naivety, what the world wide web is.

It’s a confusing, often entertaining watch, one that wants to have its fun and interrogate it, too, at best a heady blend of screwball comedy, madcap romance, expensive nostalgia and serious retrospective of a public scandal in which a woman’s privacy was invaded, her intimate moments exploited and judged without her consent. But there’s one detail that, for me, turns this whole palate sour: the real Pamela Anderson did not want this story retold. While Stan has confirmed that he spoke with Lee, who has praised his portrayal, Anderson did not respond to producers’ overtures. She has not spoken publicly about the series, but sources have expressed her discontent and disappointment in multiple outlets.

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The Soup Nazi on Marjorie Taylor Green’s gazpacho police: ‘I knew I was in trouble’

Larry Thomas, the actor behind the Seinfeld character, gives his take on the viral gaffe: ‘You can’t write this shit’

The extremist congresswoman Marjorie Taylor Greene, who previously alerted the US to the dangers of space lasers, issued a new warning to the American people on Thursday: the speaker of the House, Nancy Pelosi, has unleashed “gazpacho police” to spy on Greene’s colleagues in Congress.

It is, of course, possible that a clandestine network bent on the regulation of cold soup operates deep under the Capitol cafeteria. But Greene was presumably confusing “gazpacho” with the Gestapo, the Nazi secret police.

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‘If we are honest, it wasn’t particularly good’: looking back on the first Netflix original, 10 years later

Why a little known streaming service put its faith in Lilyhammer, a decidedly average show about the Norwegian adventures of a mafia boss

When you think of Steven Van Zandt’s acting work, your mind will automatically flick to The Sopranos. A vast, swaggering monument of a show, The Sopranos quite rightly holds the reputation of playing a pivotal role in the history of television. But let us also not forget that – 10 years ago this week – Van Zandt followed The Sopranos with another show. And it was a show which was every bit as important a milestone in TV’s evolution. That’s right, let us all wish a happy anniversary to Lilyhammer.

You remember Lilyhammer. It was a Norwegian show about the messy misadventures of a mafia underboss living in the witness protection programme 100 miles north of Oslo. It ran for three seasons and Bruce Springsteen had a cameo in the final episode. If we are being completely honest, it wasn’t particularly good. But, when it debuted in 2012, it was the very first Netflix original series. And what better way to mark its 10th anniversary than rewatching it to see how Netflix has changed over the years? There isn’t any. So we did it. Here are our learnings.

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Jonathan Van Ness: ‘Systemic racism, toxic masculinity and capitalist greed drives society’

Jonathan Van Ness’s new Netflix show Getting Curious sees them investigate gender, skyscrapers and pooing bugs. But beneath the curiosity lies a deep-seated anger at inequality and discrimination

Jonathan Van Ness is best known for fabulous hairstyles, for killer styling tips, and for treading a path that keeps them firmly on life’s glam side. Their new TV show may change that. “Being pooped on by a millipede is a lot,” they exclaim. “It stained my hands for days – there’s tar or resin in their poop!”

The 34-year-old is talking via Zoom from their home in Texas about their new Netflix series, Getting Curious With Jonathan Van Ness. Based on their long-running podcast of the same name, each episode sees Van Ness – along with a coterie of experts and friends – tackle a topic, from skyscrapers to snack foods. As well, obviously, as assessing the kind of insects that go to the toilet on your hand if you pick them up in a laboratory. Or as Van Ness puts it: “Are bugs gorgeous or gross?”

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