The actor on impersonating Elvis, her stint as a magician’s assistant on a cruise ship, and having eyes like currants

Born in Hertfordshire, Sarah Hadland, 54, attended Laine Theatre Arts college in Surrey. From 2009 to 2015, she played Stevie in the Bafta-nominated sitcom Miranda, and her other television work includes Horrible Histories, Waterloo Road, W1A, The Job Lot and Daddy Issues. This Christmas, she appears on The Festive Pottery Throwdown and The Celebrity Apprentice, and stars as the Wicked Queen in Snow White and the Seven Dwarfs at the Marlowe theatre in Canterbury. She lives with her child in London.

What is your earliest memory?
I remember putting on my sister’s dungarees – they were purple and flared – to do an Elvis impression and my family laughing, and thinking: “Oh, this is good.”

Carey’s unimpeachable record has dropped off the No.1 position and been beaten by British pop duo’s 1984 hit

2025’s most rapturously well-received albums were also some of the most challenging.

Carey’s unimpeachable record has dropped off the No.1 position and been beaten by British pop duo’s 1984 hit

The US-Ireland Alliance will give the actor the Oscar Wilde award at the event’s 20th anniversary in Los Angeles in March

After a varied career in which he has played a psychopath, a romcom heart-throb, an intergalactic warlord and a plucky newspaper editor among others, Domhnall Gleeson has won his first Hollywood award.

The US-Ireland Alliance announced that Gleeson will receive the Oscar Wilde award at the event’s 20th anniversary in Los Angeles in March in the run-up to the Oscars. It honours a body of work rather than a particular performance.

Equity says vote signals strong opposition to AI use and readiness to disrupt productions unless protections are secured

Actors have voted to refuse digital scanning to prevent their likeness being used by artificial intelligence in a pushback against AI in the arts.

Members of the performing arts union Equity were asked if they would refuse to be scanned while on set, a common practice in which actors’ likeness is captured for future use – with 99% voting in favour of the move.

Whether your household is in the mood for singing, driving, quizzing or shouting, here are our top choices for homely holiday fun

Multiplayer hand-to-hand combat games are ridiculously good fun and there are plenty to choose from, including the rather similar Gang Beasts and Party Animals. I’ve gone for this one, however, which lets everyone pick a cake to play as before competing in food fights and taking on mini-games such as roasting marshmallows and lobbing fruit into a pie. If you ever wished that the Great British Bake Off was ever-so-slightly more gladitorial, this is the game for you.

Her post-punk trailblazers were a key influence on riot grrrl. Now, after decades working as a lawyer, she is taking the name – though, contentiously, not the rest of the band – back on the road. ‘I haven’t given the best of me yet’, she says

At the height of her music career in the early 1980s, Lesley Woods got accustomed to dealing with irate men. As the singer and guitarist of Au Pairs, the Birmingham post-punk four-piece, she recalls “guys being aggressive purely because you were a woman on stage”. At one show, the band were on the bill with UB40 and the Angelic Upstarts, only the latter didn’t turn up. “So the audience, who were 95% skinheads, were gobbing at us and throwing anything they could get their hands on – which included a bin.” Was she scared? “No, I was bolshie back then. I just went to the front of the stage and said: ‘You missed.’”

After the band split in 1983, Woods hoped her days of dealing with overt misogyny were behind her. But then she retrained and became a lawyer. “When I came to the bar [in the 1990s], women couldn’t even wear trousers. I used to get men saying: ‘What colour knickers are you wearing today, Lesley?’ It’s better now, but back then law was way worse than music in how it treated women.”

With ​a blend of retro-futurism, moral ambiguity and monster-filled wastelands, Fallout became an unlikely prestige television favourite. Now there is something a bigger, stranger and funnier journey ahead

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The Fallout TV series returns to Prime Video today, and it’s fair to say that everyone was pleasantly surprised by how good the first season was. By portraying Fallout’s retro-futuristic, post-apocalyptic US through three different characters, it managed to capture different aspects of the game player’s experience, too. There was vault-dweller Lucy, trying to do the right thing and finding that the wasteland made that very difficult; Max, the Brotherhood of Steel rookie, who starts to question his cult’s authority and causes a lot of havoc in robotic power armour; and the Ghoul, Walton Goggins’s breakout character, who has long since lost any sense of morality out in the irradiated wilderness.

The show’s first season ended with a revelation about who helped cause the nuclear war that trapped a group of people in underground vaults for a couple of centuries. It also left plenty of questions open for the second season – and, this time, expectations are higher. Even being “not terrible” was a win for a video game adaptation until quite recently. How are the Fallout TV show’s creators feeling now that the first season has been a success?

Former BBC head of music and arts hailed as ‘huge influence on generations of arts programme-makers’

Sir Humphrey Burton, one of the most influential figures in arts broadcasting, has died at the age of 94.

The award-winning film-maker and director, who revolutionised classical music programming, died at home with his family by his side.

AI promises to have far-reaching effects in music-making. While some welcome it as a compositional tool, many have deep concerns. Here are some of your responses

AI-generated music is flooding streaming platforms, and it seems to be here to stay. Last month, three AI songs reached the highest spots on Spotify and Billboard charts. Jorja Smith’s label has called for her to receive a share of royalties from a song thought to have trained its original AI-generated vocals on her catalogue, which were later re-recorded by a human singer.

With this in mind, we asked for your thoughts on music composed by AI, the use of AI as a tool in the creation of music, and what should be done to protect musicians. Here are some of your responses.

The woman Quentin Tarantino called ‘the goddess of go-go’ is one of the most connected and accomplished in Hollywood. At 82, she recalls working with Tina Turner, Bette Midler, Frank Sinatra, David Byrne, Margot Robbie, Leonardo DiCaprio – the list goes on – and the time Bing Crosby made a pass at her

If your knowledge of Toni Basil begins and ends with her cheerleader-chanting smash hit Mickey, that’s just the tip of a very deep iceberg. By the time Mickey topped the US charts 43 years ago this week, in 1982, Basil had already spent four decades in the entertainment industry. The deeper you go, the more places you realise she was. When Elvis Presley sings “See the girl with the red dress on” in his 1964 movie Viva Las Vegas, and points across the dancefloor, the gyrating girl in the red dress is Basil. When Peter Fonda and Dennis Hopper take LSD at the end of Easy Rider with two sex workers, one of them is Basil. When dance troupe the Lockers show​case their pre-hip-hop street dance moves on Soul Train in 1976, it’s six guys and … Basil. By the time of Mickey she had already worked with everyone from David Bowie to Tina Turner to Talking Heads, with more to come.

Basil has been-there-done-that in so many places, for so long, and over the course of our two-hour conversation she’ll casually drop asides such as “… so I went to see Devo with Iggy Pop and Dean Stockwell” or “… me and Bowie had just come from dinner with Bob Geldof, Paula Yates and Freddie Mercury” or “I was just at Bette Midler’s 80th birthday party, what a bash!” She’s now 82 years old but on Zoom, from her dance studio in Los Angeles, she doesn’t look much older than she did in the video for Mickey – and she looked like a teenager in that, even though she was 38 at the time. Her memory is perfectly sharp, too, and her energy levels are as high as ever, as she shares her packed life story with animated diction. If she has a secret to eternal youth, it’s that she has danced her whole life, and she still does, she says. “Dance is my drug of choice. You get high from it, and it gives you community.”

Companies such as Udio, Suno and Klay will let you use AI to make new music based on existing artists’ work. It could mean more royalties – but many are worried

This was the year that AI-generated music went from jokey curiosity to mainstream force. Velvet Sundown, a wholly AI act, generated millions of streams; AI-created tracks topped Spotify’s viral chart and one of the US Billboard country charts; AI “artist” Xania Monet “signed” a record deal. BBC Introducing is usually a platform for flesh-and-blood artists trying to make it big, but an AI-generated song by Papi Lamour was recently played on the West Midlands show. And jumping up the UK Top 20 this month is I Run, a track by dance act Haven, who have been accused of using AI to imitate British vocalist Jorja Smith (Haven claim they simply asked the AI for “soulful vocal samples”, and did not respond to an earlier request to comment).

The worry is that AI will eventually absorb all creative works in history and spew out endless slop that will replace human-made art and drive artists into penury. Those worries are being deepened by how the major labels, once fearful of the technology, are now embracing it – and heralding a future in which ordinary listeners have a hand in co-creating music with their favourite musicians.

A four-hour documentary observes life in a Paris squat and perilous Mediterranean crossings – but its non-narrative structure tests the limits of endurance and empathy

Egyptian-American film-maker Sam Abbas’s experimental documentary was made over four years and shows footage of African and South Asian immigrants making the treacherous journey up through Libya and across the Mediterranean to a Parisian squat. That’s a misleadingly linear description of the film; it’s actually cleaved into two parts which would seem back to front if we were following the stories of specific people. The first section observes life in the squat where the residents support each other as they face eviction threats and the bureaucracy of asylum-seeking, while the second part looks on as other people make the rough sea passage. Time is also spent aboard boats run by organisations such as Doctors Without Borders who seek to help the migrants.

All that might make this sound like any number of 21st-century documentaries (Fire at Sea, for instance) and dramas (Io Capitano) about immigrants crossing continents with deadly results. But this one is aggressively non-narrative, composed of a series of long static shots and still images that linger many beats longer than might seem necessary to get the point across. Body parts and faces, what looks like a fuse box, a child being delivered by a rough emergency C-section (gory stuff, be warned), someone’s phone showing text messages, water, sick people laid out like cordwood on a deck; it’s all a jumble of images, unexplained and raw, and sometimes barely visible in the low-lit conditions.

As the classic album hits 50, Nick Mason talks about the often difficult process of making it and how it has since fit into their larger catalogue

By almost every measure, from commercial reward to creative reach, Pink Floyd scaled its peak on Dark Side of the Moon. But, when I asked drummer Nick Mason how he would rank the album in their catalogue, he slotted it below the set that came next, Wish You Were Here. Speaking of Dark Side, he said, “the idea of it is almost more attractive than the individual songs on it. I feel slightly the same about Sgt. Pepper. It’s an amazing album that taught us a hell of a lot, but the individual parts are not quite as exciting, or as good, as some of the other Beatles’ albums.”

By contrast, he says of Wish You Were Here, “there’s something in the general atmosphere it generates – the space of it, the air around it, that’s really special,” he said. “It’s one of the reasons I view it so affectionately.”