The death of the 71-year-old actor and comedian leaves behind a long line of unforgettably original comic creations, from Beetlejuice to Schitt’s Creek

• Catherine O’Hara, actor known for Home Alone and Schitt’s Creek, dies aged 71

One of the later and less beloved Christopher Guest comedies featuring his troupe of peerless, often SCTV-related improvisers is For Your Consideration, a medium-funny savaging of Hollywood’s feverish awards-season prestige campaigning.

The film’s unquestionable highlight is Catherine O’Hara, playing an actor who gets a whisper of awards buzz for a schlocky, still-filming drama called Home for Purim, and slowly loses her mind with the knowledge that she could maybe, possibly be recognized by her peers. O’Hara, known for her distinctively brassy yet malleable trill of her voice and her frequently red hair, peels back her performer’s bravado to expose the frenzied need beneath it. She somehow plays the outsized beneath the regular-sized, as her Marilyn Hack goes from plugging-away workhorse to desperate striver. Unsurprisingly, O’Hara briefly generated awards buzz of her own for playing this part; even less surprisingly, an Oscar nomination was not forthcoming. It couldn’t be; otherwise, it might have marred O’Hara’s masterclass in how certain actors, especially those specializing in comedy, are destined to go under-recognized in their lifetimes.

Actor, also known for Beetlejuice and her work with Christopher Guest, died after a brief illness

• Catherine O’Hara managed to make difficult characters utterly delightul

• Catherine O’Hara: a life in pictures

Catherine O’Hara, actor known for Schitt’s Creek, Home Alone and Best in Show, has died at the age of 71.

Her manager confirmed the news to Variety. She died after a brief illness.

The space opera to end them all once blasted everything in its path. But a muddled approach has led to indecision and paralysis

A long time ago, in a galaxy far, far away, Star Wars was an actual movie that people watched. It drew people to cinemas in huge numbers, largely because it was completely unembarrassed about being a pulpy space adventure about comic wizards and laser swords. Nowadays, it is something else entirely. A TV show about a likable space dad and his cute, cheeky, telekinetically powered adopted alien son, or perhaps a divisive culture-war bellwether that vacillates between trying to destroy itself in a blaze of operatic self-importance and hamfistedly rebuilding itself.

These days Star Wars also seems mainly to be press releases and announcements, throwaway comments in interviews that gesture mournfully towards what once was and what might, one day, be again. Which brings us to Taika Waititi, the Oscar-winning director from New Zealand, who has been giving fresh updates on his episode in the long-running space saga. “I’m just trying to sort of go back and harness a little bit more of the fun from the original films,” he told Variety, adding of George Lucas’ original trilogy: “The stakes were very high [and] there were serious things going on but also there was a lot fun to be had in those films. That’s what I was trying to bring back.”

Canadian PM swaps tough talk at Davos aimed at Donald Trump for some fun at a film gala with Hudson Williams

Last week, Mark Carney was at the World Economic Forum in Davos, giving global leaders a lesson in realism. His powerful speech about the end of the old order and the need for middle powers to unite in the face of fractured international norms received a standing ovation.

The economist and central banker struck a slightly different tone at a gala in Ottawa to promote the Canadian film industry on Thursday evening. Appearing on the red carpet with the Canadian actor Hudson Williams, star of the hit HBO ice hockey drama Heated Rivalry, Carney was in a playful mood.

After a very hard landing into fame in the 00s, he decided to take a softer approach – and hit on a winning formula for classic comedy. The star talks about his fantastical new show Small Prophets, his obsession with middle-age and being ‘weird-looking’

In Small Prophets, BBC Two’s new six-parter, Mackenzie Crook plays Gordon, the manager of a massive DIY store. Sometimes it feels as if we’re falling through time, because it’s like watching Gareth, Crook’s breakthrough part in The Office, a quarter of a century on. “Pedantic and jobsworthy, he could be Gareth grown up, just with more disappointment, without the West Country accent,” says Crook. “I wrote Gordon as a monster, but by the end, I was actually quite fond of him.”

In person, Crook has a jumpy, modest energy. When he was young, on screen it used to look like nerves, but now looks more like curiosity. He has a surprising number of tattoos, but maybe I should stop being surprised when people have those.

Be it The Night Manager’s Richard Roper or Blue Lights’s Gerry, classic TV characters are increasingly finding it hard to stay in the grave. Here are the 10 greatest televisual resurrections

On TV, you’re never really dead. When a beloved character is killed off on your favourite show, you can be forgiven some scepticism. Who’s to say they won’t be miraculously revived in future?

The BBC hit The Night Manager brought arms-dealing antagonist Richard Roper (Hugh Laurie) back to life mid-series to face off against his old adversary, MI6 agent Jonathan Pine (Tom Hiddleston). The action duly cranked up several gears, building temptingly towards Sunday’s finale. Will Roper be eliminated for good this time?

The Oscar-nominated star of The King’s Speech will check in for the new season of hit comedy drama set in France

Oscar-nominee Helena Bonham Carter has joined Steve Coogan for the fourth season of HBO’s comedy drama The White Lotus.

Bonham Carter is one of three new cast members officially announced today alongside Chris Messina and Marissa Long. Messina is known for roles in Sharp Objects, The Mindy Project and Julie & Julia, while Long is a model with only a short film to her name as an actor.

Jenna Meek, co-founder of Refy Beauty, joins the dragons this week

This period drama’s puddingy mix of clunking soap and fairytale wish-fulfilment is hard to resist. It is, however, utterly bananas

‘I am charting a more venturesome course outside this society and in doing so I am being true to myself!” snorts Benedict Bridgerton (Luke Thompson), flaring his philandering nostrils as Lady Violet (Ruth Gemmell) looks on aghast. “But you still have two sisters who must marry and their fate depends on the family reputation,” she snaps, bustle crackling with maternal indignation. “This requires you to be a gentleman and not … a rake!”

At this point, when faced with such period-specific umbrage, it is customary for the casual viewer to insert her monocle and refer to her dog-eared copy of The Crashingly Inevitable Downton Abbey Comparisons Companion. And in many ways Bridgerton, bless its ridiculous socks, continues to invite such comparisons with open arms. There are costumes. There is a house. There are scones (pronounced “scones”, of course, not – heaven forfend – “scones”) and scrunch-faced toffs clearing their throats at news from the shires. There are scullery maids a-titterin’ an’ a-gossipin’ and footmen with calves like bowling balls plotting to relieve dignitaries of their britches. There is a string-heavy score that becomes aroused at times of narrative tension and actively tumescent at the sight of a poorly secured cravat.

The show takes place roughly five years after the events of The Handmaid’s Tale