Michael J Fox: ‘Every step now is a frigging math problem, so I take it slow’

After living with Parkinson’s for 30 years, the actor still counts himself a lucky man. He reflects on what his diagnosis has taught him about hope, acting, family and medical breakthroughs

The last time I spoke to Michael J Fox, in 2013, in his office in New York, he was 90% optimistic and 10% pragmatic. The former I expected; the latter was a shock. Ever since 1998, when Fox went public with his diagnosis of early-onset Parkinson’s disease, he has made optimism his defining public characteristic, because of, rather than despite, his illness. He called his 2002 memoir Lucky Man, and he told interviewers that Parkinson’s is a gift, “albeit one that keeps on taking”.

During our interview, surrounded by the memorabilia (guitars, Golden Globes) he has accrued over the course of his career, he talked about how it had all been for the best. Parkinson’s, he said, had made him quit drinking, which in turn had probably saved his marriage. Being diagnosed at the heartbreakingly young age of 29 had also knocked the ego out of his career ambitions, so he could do smaller things he was proud of – Stuart Little, the TV sitcom Spin City – as opposed to the big 90s comedies, such as Doc Hollywood, that were too often a waste of his talents. To be honest, I didn’t entirely buy his tidy silver linings, but who was I to cast doubt on whatever perspective Fox had developed to make a monstrously unjust situation more bearable? So the sudden dose of pragmatism astonished me. Finding a cure for Parkinson’s, he said, “is not something that I view will happen in my lifetime”. Previously, he had talked about finding “a cure within a decade”. No more. “That’s just the way it goes,” he said quietly. It was like a dark cloud had partly obscured the sun.

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Map of the soul: how BTS rewrote the western pop rulebook

Contrary to their dismissive framing as manufactured robots, South Korea’s BTS use social media, documentary and storytelling to make themselves into profoundly human stars

BTS’s leader RM looks up from under a black baseball cap, then stares back down at his hands. “Doing the promotional interviews, [I kept saying], ‘Music truly transcends every barrier.’ But even while I was saying it I questioned myself if I indeed believe it.”

It’s late September, and the rapper is confiding in over one million fans live from his Seoul studio. His “complex set of feelings” about the explosive, record-breaking success of Dynamite – the first fully English-language single from the South Korean megastars – is not the celebration you’d expect from a band that just topped the US Billboard Hot 100, the first K-pop act to do so. But this kind of frank, unfiltered conversation is exactly what their global “Army” fanbase love: BTS’s candid social media presence has included their fans in every step of their artistic journey, and, as they release new album Be this week, has made them the biggest pop group on the planet.

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Rafaella Carrà: the Italian pop star who taught Europe the joy of sex

A new jukebox musical of Carrà’s songs caps a 60-year career for a cultural icon who revolutionised Italian entertainment – and gave women agency in the bedroom

At the beginning of Explota Explota, a new Spanish-Italian jukebox musical comedy set at the tail end of the Franco dictatorship in 1970s Spain, airport employee Maria is making a delivery at a TV studio when she catches the attention of Chimo, the director of a variety show. When she tells him she’s not a dancer, he replies: “No dancer with blood flowing in their veins can resist this rhythm.”

He plays her Bailo Bailo, a hit by Italian pop star Raffaella Carrà, who, on top of becoming one of the best known personalities in her native Italy, ended up a sensation in the 20th-century Spanish-speaking world. Where Sweden had Abba, Italy had Carrà, who sold millions of records across Europe. Sure enough, Maria can’t resist Bailo Bailo, and Chimo hires her.

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‘Charles is very stylish’: how The Crown’s costume designer brought 1980s to life

Season 4’s wardrobe includes Diana’s Cinderella dress and Thatcher’s power shoulders

With its power bouffants, sweetie-wrapper party dresses and alarming shoulder pads, some call the 1980s the time that fashion forgot. But in the fourth season of The Crown, which starts on TV tomorrow night, the era’s extraordinary clothing plays a pivotal role in bringing the decade’s stories back to vivid life. Some looks were faithfully recreated, while others were more loosely inspired by the actual wardrobes of the royal family, as the show’s costume designer, Amy Roberts, explains below.

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‘They created a false image’: how the Reagans fooled America

A new docuseries studies the damaging reign of Ronald and Nancy Reagan and the insidious myth-making that still surrounds their legacy

Ever since Richard Nixon’s sweaty upper lip during a debate with John F Kennedy cost him the election in 1960, television has been the most crucial proving ground for any presidential hopeful. Granting the gift of sight to the general public changed the game, as campaigners and office-holders have been forced to school themselves in careful image management and conscious branding. In American politics, a well-crafted position on foreign policy won’t get a person nearly as far as the easy telegenic charm that makes voters feel comfortable grabbing a pint, a dissonance that’s allowed some dubious characters access to the highest stations of authority.

Related: Ronald Reagan called African UN delegates 'monkeys', recordings reveal

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Check her out: how Netflix hit The Queen’s Gambit thrills with fashion

Stylish chess drama fills the hole left by period pieces such as Mad Men – and puts the clothes front and centre

In chess, the first move is everything. This is also true in TV – something The Queen’s Gambit, a seductive seven-part drama about a female chess prodigy in the American midwest, knows all too well.

In the first few moments, we meet our teenage hero, Beth Harman (Anya Taylor-Joy), asleep in a hotel bath wearing a burgundy Pierre Cardin shift dress from the night before. Moments later, she has changed into a Biba-inspired mint-green viscose one, which matches the tranquillisers she knocks back with a minibar vodka. Grabbing her shoes – black pointed flats, so this must be the 60s – she hurries downstairs to play the most important chess game of her career on the mother of all hangovers.

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Trial 4: how a teen spent 22 years in prison for a crime he didn’t commit

Sean Ellis was 19 years old when he was arrested for killing a police officer in Boston. Decades later, he prepares for his fourth trial in Netflix’s Trial 4

Sean Ellis was 19 when he was arrested by Boston police over the killing of an officer in October 1993. Head down and nearly collapsing, barely keeping pace with police, Ellis wore his best suit as officers dragged him into custody – he had just attended the funeral of Celine Kirk and Tracy Brown, his cousins, who had been murdered by Celine’s ex-boyfriend in Ellis’s neighborhood of Dorchester. Ellis had spoken voluntarily to police about his cousins, with whom he was close; days later, he was on trial over the murder of a crooked cop as he slept in his car in a Walgreens parking lot.

Related: A Wilderness of Error: the year's most troubling true crime series

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The Crown season four, first look review – enter Diana, Thatcher, bombast and bomb blasts

The best series so far of the royal drama, with the family sliding into dysfunction and new characters providing 80s shoulder-padded spectacle

The Crown (Netflix) has finally reached the blockbuster era, thanks to the pincer-like introduction of Diana (soon to be Princess) and Margaret (Thatcher), at long last, who both elevate the season to its best form yet. It begins in 1979, with the election of Britain’s first female prime minister, and ends in 1990, amid the furious flames that were beginning to consume the marriage of the heir to the throne. It is grand, gorgeous and as soapy as ever, perfect for a wintery period of hunkering down.

I have not always been convinced by The Crown. In the past, it has been prone to sentimentality, and never knowingly using one word to hint at a situation when several thousand will do. The sumptuous look of it all and the delicious performances have frequently been called upon to come to the rescue of the writing, which is sometimes clumsy, over-explaining subtext, not trusting its own subtlety, eventually spelling any emotional conclusions out all in bold capital letters.

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The show the military couldn’t stop: Luca Guadagnino on We Are Who We Are

His new TV series about wild goings-on at an army base near Venice horrified the US Department of Defense. Did it also cost him his relationship? The Call Me By Your Name director reveals all

Lockdown was a nightmare for Luca Guadagnino. His dad died, his partner left and his myriad film projects had to be put in mothballs. As soon as restrictions were lifted, he jumped in his car and drove south from Milan, along empty motorways, right through the May night. He realises now he was in search of home.

Guadagnino, true to form, immortalised the trip on his iPhone and the resulting film is a lovely thing: part travelogue, part elegy, rattling around the director’s old village in Sicily. At one point Guadagnino stands outside his former house and inhales the smells from the open window – humidity, old grapes – like Proust with his madeleine. He wonders what kind of world the pandemic has left behind. He asks friends and colleagues for advice and support. “For a forest to stay healthy,” one tells him, “it has to periodically burn down.”

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BBC to hold investigation into how Martin Bashir obtained Diana interview

Diana’s brother Earl Spencer claims journalist produced fake documents to win trust of family

The BBC has pledged to hold a full independent investigation into how Martin Bashir obtained his career-defining interview with Princess Diana in 1995, following fresh claims that he produced fake documents and used other deceitful tactics to win the trust of her family.

Tim Davie, the corporation’s director general, confirmed that the terms of the investigation would be announced in the coming days: “The BBC is taking this very seriously and we want to get to the truth. We are in the process of commissioning a robust and independent investigation.”

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The Trials of Oscar Pistorius review – what about Reeva Steenkamp?

This docuseries could have asked bigger questions on domestic violence, or the murder of Pistorius’s scarcely mentioned girlfriend. Instead, it is a flawed, fawning hagiography

The BBC provoked an outcry last month when it ran a two-minute trailer for this four-part documentary series (BBC Two and BBC iPlayer) that referred to “an international hero who inspired millions” who had “suddenly found himself at the centre of a murder investigation”, without once mentioning the name of the woman Pistorius killed: Reeva Steenkamp. If you did not know the story, you would probably have thought you were about to watch a re-examination of a murder investigation gone wrong and the righting of a terrible miscarriage of justice. The BBC eventually apologised and replaced the advert with something they said was more representative of the tone of the film.

They should just have left it. It was a meretricious trailer for a meretricious film by a director – Daniel Gordon – who, in one of the press interviews for the series, said he was “still flip-flopping” on the matter of Pistorius’s guilt.

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Rocky Horror’s Richard O’Brien: ‘I should be dead. I’ve had an excessive lifestyle’

The creator of the cult show is not going quietly into his 70s. He talks about coming out as trans, going ‘loopy’ on crack – and speaking in tongues after suffering a stroke

Richard O’Brien is 78, but his toothpick body and lightbulb head have always lent him a certain agelessness. A few months ago, however, the rakish Rocky Horror Show creator, Crystal Maze presenter and transgender parent-of-three received a stark reminder of his advancing years.

He was pottering around at home in New Zealand when he suddenly found himself lying on the floor. “I didn’t register that something was desperately wrong,” he says, speaking from the house he shares with his third wife, Sabrina, 10 miles outside of Katikati. “I just thought: ‘I wonder why I can’t get up.’” Struggling to his feet, he attempted to make a drink, only to discover he couldn’t put the top back on the milk. “I was in a dream-like state. Finally, I gave up with the milk, went to go back to the bedroom, slid down the wall and started speaking in tongues. That’s when Sabrina called the ambulance.”

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Angry TV film-makers stop release of lauded Iranian documentary

Coup 53, which charts MI6’s role in the shah’s restoration, has been blocked by makers of an 1985 show, who say it sullies their names

Coup 53 was heralded by critics this summer as a “powerful and authoritative” documentary “as gripping as any thriller”, and judged by historians as crucial to understanding Britain’s relationship with the Middle East.

Made over 10 years by Walter Murch, the celebrated editor of Apocalypse Now and The English Patient, in collaboration with the Anglo-Iranian director Taghi Amirani, it tells the story of covert British intervention in Iran after the second world war and stars Ralph Fiennes, left, as an MI6 spy in a reconstruction of a key incident.

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Helena Bonham Carter: ‘Divorce is cruel. But some parts are to be recommended’

She doesn’t believe in a stiff upper lip, or pretending – unless it’s for work. The actor talks about her split with Tim Burton, friendship with Johnny Depp, and playing the Queen’s sister

Ding-dong, it’s the doorbell. And look who’s standing on my rain-sodden doorstep, it’s Helena Bonham Carter. In her stompy, clumpy boots and dark floral ruffled dress, curls piled on top of her head, she looks so exactly herself – which is to say, like a Victorian goth drawn in charcoal – that she could be an actor playing a character playing Helena Bonham Carter. Which, to a certain degree, she is.

“I love dressing up and creating myself, as it were, according to the day and the mood. But it’s an illusion, because then the Daily Mail photographs you, and you see it and think, that wasn’t what I meant at all,” she says as we walk into my kitchen and I compliment her outfit. Her fashion sense – invariably described as quirky (“God, quirky,” she says, as if repeating a doctor’s fatal diagnosis) – has made her a favourite of the paparazzi, and photos of her mooching around London in her distinctive outfits have been a staple of the tabloids for several decades. Does she ever think, “I’ll dress normcore today – that’ll throw off the paps”?

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Drag Race stars get political: ‘People were like, you queens should stick to wigs and makeup’

They’ve been told to stick to makeup. But for RuPaul queens Latrice Royale, Peppermint and Alaska, and the legendary Lady Bunny, channelling drag’s revolutionary spirit is a must in 2020

Drag and activism have always gone hand in hand. In June 1969, Marsha P Johnson, a Black drag performer reputedly threw the first brick in the Stonewall uprising in New York City; the violence that followed inspired LGBTQ+ people the world over to stand up to oppression and discrimination. Now, 51 years later, drag is more visible than ever, due in no small part to the multiple Emmy award-winning reality series RuPaul’s Drag Race. The show has given a powerful platform to a new generation of drag, trans and non-binary performers. And, whereas early activists often had to contend with police batons, water cannon and prison cells, these queens have more freedom to speak their minds.

“Drag has always been a stronghold against shitty politicians,” says Alaska, in her trademark vocal fry. The ferociously witty winner of RuPaul’s Drag Race All Stars season 2 says her political role models include Act Up (Aids Coalition to Unleash Power), the movement that advocates to end Aids, and Elizabeth Taylor, one of the first Hollywood icons to speak up during the Aids crisis in the 1980s, who “wasn’t technically a drag queen, but she kind of was, right?”

“Act Up had this badass element and ‘enough is enough’ attitude. It was during the Reagan presidency and they were, like: ‘This man doesn’t see us, we have a crisis, people are dying – we’re burying all our friends and the president won’t even acknowledge it.’ They had to take really drastic measures because it was the only way to get through,” she says.

Alaska has also found an effective medium to get her point across. The bi-weekly podcast Race Chaser, which she co-hosts with fellow Drag Race contestant Willam, features Let’s Get Political, a segment in which the queens share crucial information about registering to vote and engaging with good causes, while making no secret of their personal sentiments. Alaska recently said, “An empty suit on a hanger in a closet would do less damage than the current person in the White House.” With 1.2 to 1.5m downloads a month, their platform is not to be sniffed at.

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‘Every boy’s dream is to be James Bond’: Inside North Korea with ‘Mr James’ and ‘the Mole’

Danish film-maker Mads Brügger’s latest documentary is an absurdly brave look at Kim Jong-un’s regime that has all the intrigue of a spy thriller

Physically, Ulrich Larsen doesn’t stand out. Polite, unassuming, his unmemorable 44-year-old face is how I imagine an efit template might be, what you start with before you add distinguishing features. You get to decide who he is. Perfect for blending in. Or infiltrating the world’s most secretive regime perhaps, which, as it happens, is what he did. Larsen is “the Mole”.

Jim Latrache-Qvortrup is the opposite. Forty-eight, big, bold, bearded, inked, with an expensive-looking set of teeth and an explosive laugh. Ex-military? Better still, he joined the French Foreign Legion at 19. Crime? Tick; he spent eight years in jail for drug dealing. International arms dealer, buying stinger missiles from North Korea for anyone who will have them? Actually no, but he does a very good job of pretending to be one, hardly has to act at all in fact. Latrache-Qvortrup is “Mr James”.

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Red, White and Blue review – Steve McQueen and John Boyega hit gold

Issues of bigotry, belonging, race and redemption and are unpicked in this majestic biopic of police officer Leroy Logan

Steve McQueen’s five-movie series for the BBC, Small Axe, only gets more thrilling and captivating with the appearance of this new episode at the New York film festival. He is setting new gold standard for drama – and cinema – on screens of any size.

Related: Lovers Rock review – Steve McQueen throws the best party ever

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Sir David Attenborough reveals favourite animal to young royals

Duke and Duchess of Cambridge’s three children quiz veteran broadcaster on his passion for nature

The Duke and Duchess of Cambridge’s children have shared their passion for animals with Sir David Attenborough in an adorable video.

Prince George, seven, Princess Charlotte, five, and Prince Louis, two, quizzed the 94-year-old broadcaster in a video recorded at Kensington Palace in August. Princess Charlotte revealed that she likes spiders, and Attenborough told Prince Louis that his favourite animals were monkeys.

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‘So old he was losing his hair’: survivors urge MPs to end scandal of UK’s child brides

A new bill could close loophole allowing under-18s to marry in England and Wales, as charities warn Covid has exacerbated hidden child marriage

When Payzee Mahmod was married at 16 to a man nearly twice her age she didn’t understand the words spoken during the Islamic ceremony – and nobody thought to translate them for her.

The teenager, who loved fashion and pop music, was preparing to start college. “I had just finished school and the idea of not wearing a uniform was exciting to me,” she remembers. “Instead I found myself trussed up in a wedding dress, with elaborate jewellery, feeling like a sale item at an auction.”

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Steve McQueen: ‘Our Marlon Brandos are on building sites, or driving buses’

The director’s new Small Axe series kicks off with the landmark 1971 trial of the Mangrove Nine. It’s his aim to fill these gaps in British history, he says, and to open the industry to other black film-makers

Photographer Misan Harriman is gently cajoling actor Shaun Parkes as the sun burns through the morning cloud above St Michael’s church in Ladbroke Grove, west London. “Look at me as if you’re searching for redemption,” he says, as Parkes looks down the lens. “But it’s redemption for something you haven’t even done.” Parkes, who rose to prominence as a raver in Human Traffic but now has flecks of grey in his beard, doesn’t ask for more clarity; he simply flashes a look at the camera and then slowly changes pose.

Today Parkes and Harriman, who recently shot Vogue’s “Activism Now” September issue, along with portraits of Black Lives Matter protesters, are revisiting the west London area that is the setting of Steve McQueen’s new film, Mangrove. It’s a glorious September morning and, despite the Covid-19 restrictions, the cafes are busy and the flower shops open. It’s hard to imagine that 50 years earlier, a few streets away, there was a pitched battle between the police and protesters that would help change the way Britain thought about race. Parkes plays Frank Crichlow, the real-life figure at the heart of McQueen’s film, which centres on Notting Hill’s Mangrove restaurant and nine West Indians who fought police harassment and then a court case. The look of redemption that Harriman is searching for is something Crichlow and the Mangrove Nine earned the hard way.

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