Alex Scott made a rare Jess Glynne relationship admission on I'm a Celebrity... Get Me Out of Here! during Tuesday’s (18 November) episode of the ITV show.

Evans says the experience had a severe impact on his mental health and spent time in hospital

2025 ceremony takes place in Nashville on Wednesday night

Punchy, old-school stunt work, inventive baddie-splattering and a simple plot as our grizzled Finish prospector finds a new foe in his Soviet-occupied homeland

In 2022, the Finnish indie action movie Sisu had the look of a one-hit wonder. Pitting a grizzled prospector against an entire platoon of Nazis, writer-director Jalmari Helander heeded the lessons of George Miller’s Mad Max: Fury Road, principally that there is serious cinematic value in going pedal-to-the-metal along a single, straight narrative line. That profitable sleeper hit now yields this choice follow-up, which somehow feels more expansive while still clocking in under 90 minutes.

Having seen off the SS, indomitable hero Aatami (Jorma Tommila) gains a tragic backstory and a new, vicious postwar foe in the tremendously named Red Army butcher Igor Draganov, played by wily James Cameron favourite Stephen Lang. Again, the economy of Helander’s approach proves striking and thrilling. No unnecessary obstacles have been placed between the audience and a good time at the movies: we get one scene of Aatami dismantling his family home beam by beam and one scene of Draganov being sprung from jail before the pair intersect in the back roads of Soviet-occupied Finland. Cutting to the chase grants Helander time to craft set pieces in which Aatami outthinks and outflanks the Red Army’s might; in this respect, Sisu 2 is a more-of-the-same sequel. The good news is that it remains terrific: punchy, old-school stunt work, crisply uncluttered cutting, and varied, inventive baddie-splattering from the moment Aatami deploys one of those beams to take down a jet fighter.

Photographer Claire Beckett captured the soldiers and civilians who dress up as Afghans and Iraqis in military bases across America. They play everything from insurgents to shoppers in mocked-up firefights

The author of Palestine turns his attention to the legacies of Indian partition in this brilliant portrait of the 2013 Muzaffarnagar riots

Joe Sacco is one of a very small number of graphic novelists who have smashed through into the mainstream. His masterwork is Palestine, a collected volume of single-issue comic books he created in the 1990s, documenting the violence in Gaza. His technique is to embed as a journalist in a war zone and interview people on the street, telling their stories with pictures. Lessons on global politics emerge from ultra-local conflict and depictions of day-to-day life.

Palestine propelled Sacco to fame, drawing comparisons with Maus, Art Spiegelman’s two-volume saga about Polish Jews during the Holocaust with Nazis portrayed as cats, and Jews as mice. These works are sold prominently in bookshops, not in musty basements packed with racks of polyethylene-sheathed superhero comics. Alongside a couple of others, Maus and Palestine signalled that graphic novels, as they became known, could be serious works of fiction, nonfiction and journalism. Palestine itself is as depressingly relevant today as it was in the 1990s. In December 2023, it was reprinted for the first time in a decade, after selling out following the 7 October attacks.

I’m A Celebrity’s Ruby Wax opened up on what it was like to interview OJ Simpson during Tuesday’s (18 November) episode.

No one cries with as much intensity as the ‘Homeland’ star, and Netflix's new psychological thriller gives her free rein to embody misery. Patrick Smith has his guts wrenched again

The only higher public sale remains Salvator Mundi by Leonardo da Vinci, which sold in 2017 for $450.3m (£342.66m) at Christie's

Singer recently called for billionaires including Mark Zuckerberg to donate their wealth

Cynthia Erivo scores, but Ariana Grande less so – and director Jon M Chu still hasn’t figured out how to properly light any of this

‘No one does it quite like the Malfoys,’ Felton wrote of the reunion

The Shed, New York

The actor indulges his love of the past in a breezily enjoyable play about a man falling for a woman from the 1930s, played by a standout Kelli O’Hara

Tom Hanks is a star who’s always had one foot squarely in the past. As an actor he’s forever been likened to James Stewart, a reincarnation of the charming, essentially good American everyman, a from-another-era lead who’s increasingly been more comfortable in period fare (in the last decade, he’s appeared in just four present-day films). As a producer, he’s gravitated toward historical shows such as Band of Brothers, John Adams and The Pacific; his directorial debut was 60s-set music comedy That Thing You Do! and his undying obsession, outside of acting, is the typewriter, collecting and writing about its throwback appeal.

In his new play, The World of Tomorrow, his fondness for the “good old days” has led to the inevitable, a story about a man with a fondness for the “good old days” who actually gets to experience one of them for himself. It’s a loosely familiar tale of time travel, based on a short story written by Hanks that tries, and half-succeeds, to bring something new to a table we’ve sat at many times before.

Radcliffe revealed he sent his Harry Potter successor, Dominic McLaughlin, a letter