‘Biggest sin in the programme’: How a coat from The Undoing divided the internet

The ugly green coat in the HBO drama The Undoing has usurped a starry cast that includes Nicole Kidman and Hugh Grant. But what are the show’s makers trying to say, exactly?

The real star of The Undoing, HBO’s absurd marital melodrama, is not Hugh Grant, the Manhattan skyline or even the pair of David Hockneys hanging inside a vast penthouse in episode one. It’s a coat.

Sludge-green, calf-length, with wide lapels and a hood, this coat is worn again and again by Nicole Kidman’s character, a gnomic therapist called Grace, as she floats down Madison Avenue, through Central Park and even into the prison on Rikers Island, brooding over her marriage to a man who may, or may not, have just murdered his lover with a lump hammer.

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Enlightened: Laura Dern’s best role was smart, brave and ahead of its time

The series was cancelled in 2013 but its biggest crime was being born too soon. Now streaming in Australia, here’s hoping it gets the audience it deserves

What happens when an annoying narcissist has a spiritual awakening? Do they become different? Better? Or does real change require much more than learning how to meditate?

Enlightened, starring Laura Dern, aired for two seasons on HBO from 2011 to 2013. Critics loved it, a third season was on the cards – but it never got the mainstream viewership it deserved and was cancelled due to poor ratings.

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Could Steve McQueen start a lovers rock revival with Small Axe?

Streaming services expect rise in searches for the 70s pop-reggae genre, a staple of the blues parties that shaped UK music

One of the most memorable moments in Steve McQueen’s Lovers Rock – the latest film in his five-part anthology series Small Axe – comes when a room full of young revellers sing Janet Kay’s classic Silly Games with their eyes closed, lost in the music, as they imitate her signature falsetto.

A staple of the lovers rock genre, which emerged in the 70s and was a blend of pop, reggae and disco, Kay’s song is the centre piece of McQueen’s film, which is itself an ode to the house parties, or “blues”, that his auntie attended as a young woman.

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Laurence Llewelyn-Bowen: ‘I’ve been trying to get sacked from television for years’

Changing Rooms’ flamboyant master of maximalism has made a great living out of being himself. But is lockdown altering him? Is he suddenly dressing down, or brooding on the tragedy that marked his childhood? And does he have any decor tips for our interviewer?

If curating your surroundings for a Zoom call is an art, then Laurence Llewelyn-Bowen is its maximalist master. Immersed in the dark colours of his 17th-century manor-house living room, he sits with enviable poise, one arm cocked and propped on his thigh, as though modelling for a portrait. Flanked by a medley of blue velvet and patterned cushions, the latter matching his William Morris-inspired sofa, he is lit by an assortment of lamps.

It is a stark contrast to my more modest framing – a single pine bookshelf and a large houseplant. I show him the rest of my living room: pale blue walls, a navy/charcoal sofa, a single cushion with Julianne Moore’s face, a coffee table, a few more palms and a TV unit. Britain’s best-known interior designer doesn’t spare my feelings.

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Widow criticises The Crown over avalanche episode

The wife of Hugh Lindsay, who was killed while skiing with Prince Charles, had asked show not to feature the disaster

The widow of a British army major who died in an avalanche while skiing with Prince Charles has criticised the producers of The Crown as “unkind” for dramatising the disaster against her wishes.

Major Hugh Lindsay, a former Queen’s equerry, was skiing off-piste at the Swiss resort of Klosters in 1988 with a group including senior royals when disaster struck, with his friend the Prince of Wales and others reported to have dug snow with their hands in a vain attempt to save his life.

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Prep talk: ‘yindies’ revive 80s Wall Street look for generation Z

Ironic take on corporate attire reboots yuppie look in age of The Crown and new Gossip Girl

In the ultimate moment of fashion revival, the 80s yuppie look is back – but with a difference. The “yindies” (young ironic nostalgic dresser), is bringing back the suited, Wall Street look but with a touch of knowing self-reference and elements of preppy style too.

The first cast photograph of the new Gossip Girl reboot, the current season of The Crown, which features Diana Spencer’s 1980s Sloane Ranger chic and the navy suit jacket of Donald Trump impersonator Sarah Cooper, have all riffed on the classic powersuit silhouette.

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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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