Daniels played the uptight robot C-3PO in all nine core Star Wars films

The actors were directed over Zoom for the ambitious four-part ITV series – and judging by the inaugural episode, the results are laudable

Writer also said he has no plans for further episodes of 'Black Mirror'

US president had previously suggested he would 'take a look' at the scandalous case

The show is due to return in September

Michael Condron played Bowen Marsh in the fantasy epic

Judge Craig Revel Horwood recently said 2020 series could go ahead without studio audience

Comedian made the off-colour quip after the veteran actor starred in 'Cats'

Presenter said she is 'proud' of craft show despite criticism

This series' great beauty is that it's about relationships in all their unpredictability – perfect for locked-down viewers who are seeking out human interaction vicariously

Actor said he had to ask himself 'who am I?' after his 'world completely changed'

'Is there anyone on Earth who enjoys the ending?'

The controversial ending of Seinfeld ranks as one of the most-viewed series finale ever

'I have just got to keep going, making sure other people are going to be alright,' said Tim Simpson

People have noted a certain timeliness in a clip from the 1993 episode 'Marge in Chains'

The advert will air during Friday's 'Gogglebox'

There are loads of titles you didn't know were on the streaming service

Brad Pitt and Tom Hanks have contributed to the programme remotely

The first season ended with a cliffhanger – did Jen kill Steve or not? But what is most poignant about the second season is not who killed him, but how well the show deals with grief, writes Charlotte Cripps

Davidson is currently quarantining in his mother's basement

Director's new series stars Andre Holland as a once-famous American jazz pianist who has been unable to play since his son died

Channel 4 star came to fame alongside her husband Leon, who died in 2017

'Roy was a fighter his whole life including during these final days,' his partner Siegfried Fischbacher said

The Kraftwerk co-founder remained a mystery even after death, but there is no doubting the impact he made with his group’s sublime, visionary music

• News: Florian Schneider, Kraftwerk co-founder, dies aged 73

Florian Schneider’s death came shrouded in a degree of secrecy. Gossip among fans about his health was first provoked at the end of April, when his fellow former Kraftwerk member Wolfgang Flür posted a sweet photo on social media of him and Schneider together in a bar, without explanation.

It had apparently been taken in 2016 – a decade and a half after Schneider and fellow founder member Ralf Hütter had served Flür with a lawsuit provoked by his autobiography I Was a Robot – and was subsequently deleted from Flür’s Facebook page. Then, a week later, another electronic musician based in Germany, the Manchester-born Mark Reeder, posted a brief eulogy; one commenter claimed that Schneider had died “several days ago”.

(Pias)
Since his last outing, the south London musician and producer has eased up and moved to Margate. Yet this atmospheric return still carries the weight of the world

Ghostpoet – the brooding alias of south London-born Obaro Ejimiwe – is roughly a decade old this year. This dour bard has long been an artist ahead of his time. A track such as Cash and Carry Me Home, one of the highlights of his eclectic, jazz-inflected debut album – 2011’s Peanut Butter Blue and Melancholy Jam – defied genre as it mourned the self-inflicted pain of one drink too many. It now locates Ghostpoet as roughly adjacent to the south London jazz renaissance of the past few years – a multi-hyphenate scene in which most things go. Were it to be released today, its languorous, self-aware aperçus would find an even more receptive audience.

OVO
There are flashes of skill and rawness in this odds-and-ends mixtape but it feels like a clumsy lunge at commercial success

In a world where the boundary between mixtapes and albums is becoming ever more blurred, the title of Drake’s latest album highlights its interstitial nature. That said, it’s still slightly misleading. There are tracks here that sound like demos – the mopey James Blake-isms of Chicago Freestyle are audibly unpolished – but for the most part, it ’s a way of collecting up leftovers and leaks, spare tracks he apparently has lying around the studio.

Those inclined to view Drake’s career with a cool eye might be surprised he has any spare tracks lying around the studio, given the state of his last album. Listening to Scorpion, 25 songs long, required a certain degree of mental stamina: you needed to steel yourself against the panicky sensation that you might die of old age before it ended. But it wasn’t the sheer quantity that was the problem so much as the quality of what was there. Scorpion had its moments but was so hopelessly uneven that it was easy to buy into the theory that its length was not due to its author’s teeming multiplicity of fantastic ideas, but an attempt to game the streaming services: more songs means more streams, more streams means a higher chart placing.

(Family Hour/Thirty Tigers)
Sean and Sara Watkins are back and in reflective mood

California’s Sean and Sara Watkins are akin to royalty in American folk circles, firstly as founding members of the hugely successful Nickel Creek, and secondly as hosts of an 18-year residency at LA’s Largo club, where they perform alongside invited guests. Brother Sister draws on both strands of their history. Like its self-titled 2015 predecessor, the album sets aside the pizzazz of Nickel Creek for a down-home approach, but instead of boisterous, star-studded cover versions come five original songs and a minimal musical palette.

Alternating on lead, the pair’s vocals remain a model of sibling harmony, while the interplay between Sean’s intricate guitar picking and Sara’s elegant fiddle is similarly impressive – the breakneck bluegrass instrumental Bella and Ivan is a case in point. Mostly, however, the mood is reflective. Lafayette and Miles of Desert Sand chronicle the search for a better life, and Fake Badge, Real Gun is an artful snipe at Trump – “Throw your tantrums but the truth will be waiting”. Warren Zevon’s forlorn Accidentally Like a Martyr fits in neatly, while Charley Jordan’s ribald Keep It Clean is a gleeful example of a Largo session.

Our Listener’s Digest series continues with the unlikely major-label star and electronic music pioneer who emerged from the New York art world

• Read all the other Listener’s digest pieces
• The best arts and entertainment during self-isolation

Big Science (1982)

Ty, who has died aged 47 of coronavirus, was a sharp and witty MC who ably nourished the UK hip-hop scene despite being ignored by the media

• Mercury prize-nominated UK rapper Ty dies of coronavirus

The death of British rapper Ty, aged 47, to complications from coronavirus came as a shock because it had appeared he was on his way to recovery after being moved out of intensive care. And for those of us who grew up with Ty’s voice circling our bedrooms, the shock resonates: this is an artist who touched so many with his humour and sharpness on the mic.

While all eyes were on grime in the early 2000s, Ty was charting a journey to a frontier that had yet to be fully explored. In 2001, he released his debut album, Awkward, on Big Dada, one of the few labels that would give a home to UK hip-hop acts such as Roots Manuva, Juice Aleem and Speech Debelle. It was the year of era-defining US albums such as Jay-Z’s The Blueprint and Nas’s Stillmatic, when the mainstream had gone the way of the shiny suit. But across the Atlantic, Ty ushered in the UK’s own hip-hop golden age, leaning towards the genre’s soul, jazz and funk origins.