The bowler hat was used by Goldfinger's henchman Oddjob

Morgan announced he'd be taking a leave of absence from the show until he receives the results of a Covid-19 test

'We tried to tell that story, but it defeated us every time'

Viewers have questioned how the hit animated series seemingly 'knew about coronavirus nine months ago'

Actor alleged singer wanted to 'sexualise' him ahead of their scene

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

Morgan had developed 'mild' symptoms

'I don't know what stomach there would be for stories about societies falling apart, so I'm not working away on one of those'

'I'd love to do a millennium one'

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

Character's fate was famously left ambiguous at the end of the seminal gangster drama

Trump took time away from coronavirus crisis to call Kimmel 'wacko' in a social media rant

Production on the soap was suspended in March

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

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

The advert will air during Friday's 'Gogglebox'

Billie Henry was given a five-year restraining order

All the clues you need in one picture

Brad Pitt and Tom Hanks have contributed to the programme remotely

A third film is also in the works

Show's 2013 winner was approached by store detectives after she appeared to not pay for her shopping

In celebration of his 94th birthday

Tesla CEO is back on Joe Rogan's podcast

Holmes came under fire for giving validity to a conspiracy theory linking 5G to coronavirus

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

Actor is famous for making her opinions known during interviews

(Matador)
The indie maverick is a purveyor of all styles on his studiously eclectic 12th album

There’s a strange psychological cross-pollination going on behind the mask that Will Toledo, the artist mostly known as Car Seat Headrest, sports on the cover of his 12th album. Indulging an alter ego called Trait, Making a Door Less Open seeks out deliberately eclectic hybrids of his wry, lo-fi indie rock style (heir to the likes of Beck, Lou Barlow and Eels) and the satirical EDM he and his drummer Andrew Katz make as 1 Trait Danger. The result is much better than anyone who’s heard the latter, who often veer perilously close to a Bloodhound Gang remix project, might expect: Can’t Cool Me Down has a sultry 80s electropop feel, while the roil of self-deprecation and naked emotion on There Must Be More Than Blood underlines Toledo’s debt to LCD Soundsystem.

The new styles don’t all gel. The sleazy, fuzzy synth-rocker Hollywood is pleasingly punchy, but brought down by facile lyrics (apparently Tinsel Town isn’t the dreamland it’s cracked up to be – who knew?). Two sister songs – the lumpen alt-rock Deadlines (Hostile) and the Hot Chip-with-extra-dour Deadlines (Thoughtful) – fail to charm, while What’s With You Lately is a wan, mopey strum that seems to have wandered in from an entirely different, very bad record. But on the likes of the pulsing, uplifting Famous and Life Worth Missing, Toledo finds new energy.

The Nigerian musician was a restless creator who embraced the physicality of drumming and innovated until the end

• Tony Allen’s 10 best tracks
• News report: Afrobeat co-founder Tony Allen dies aged 79

Few musicians can claim to have invented a revolutionary rhythm, but then few are quite like the late Afrobeat pioneer Tony Allen. Brian Eno called him “the greatest drummer that ever lived”, citing his style alongside James Brown’s funk breakbeat and the constant pulse of German band Neu! as the “three great beats of the 1970s”. Allen’s swirl of jazz, Yoruba and highlife was unlike anything the world had ever heard: a full-body polyrhythmic workout that would give most drummers sore wrists just thinking of it.

Allen came to prominence in Lagos alongside Fela Kuti. He started drumming in the late 50s while working at a radio station, looking to jazz icons such as Art Blakey and Max Roach for inspiration as he taught himself to play. In 1964 he met Kuti and they spent the next half-decade fine-tuning their fusion of west African party music and American funk and jazz, in the bands Koola Lobitos and, by 1969, Africa ’70. While Kuti, who died in 1997, is more well-known than his musical soulmate, he said that “without Tony Allen there would be no Afrobeat”.

Angélique Kidjo, Jeff Mills, Sébastien Tellier and more remember the late drummer: his humility, his brilliance, and his awesome sportswear

The keyboardist, who has died aged 71 of coronavirus, upended the rules of punk with organ arpeggios and a moustache – and pointed the way to post-punk

Music writer Pete Paphides’ recent memoir, Broken Greek, contains a vivid description of its seven-year-old author encountering the Stranglers for the first time, during a 1977 Top of the Pops appearance. “They landed in the living room while I was totally unsupervised,” he writes, “and scared the shit [out] of me. By now I would have seen images of punk rockers … but they looked like circus entertainers compared to [the Stranglers]. They looked too old to be punk. They looked like the sort of people you pass in the street and your mother puts her arm round you, stares at the pavement and doubles her walking speed … The point at which it all got too much was when the camera cut to Dave Greenfield – who has died from Covid-19 aged 71 – jabbing his keyboard while looking straight ahead with what seemed, beyond doubt, to be the eyes of a murderer, an effect somehow compounded by the army-surplus boiler suit he had decided to wear. Just like that, my list of phobias had got a little longer: worms, biting into mushrooms, insects, the fibreglass King Kong which stood next to a ring road in Birmingham city centre and, now, Dave Greenfield from the Stranglers.”

It’s funny writing, but it’s also very incisive about the Stranglers: in real life Greenfield was, by all accounts, the band’s most approachable and charming member, but otherwise Paphides has it spot-on. The Stranglers complained relentlessly about not being accepted by the punk cognoscenti, but what did they expect? They didn’t look like punks, particularly Greenfield, who defiantly sported that least punk of facial accoutrements, a moustache. They were old, at least by the standards of the day, old enough to have the kind of musical pasts it was wise to keep your mouth shut about in the scorched-earth environment created by the Sex Pistols: Hugh Cornwell had played bass in a band with Richard Thompson, later of Fairport Convention; Greenfield had been in a prog rock band called Rusty Butler.

(Clover Music)
With this long-awaited fourth album, the former teen idol has finally arrived as the kind of artist she was always meant to be

‘Look at me now” is a fitting opening line for Good to Know, the fourth studio album from R&B singer JoJo. The artist has been on a storied journey through the music industry and the public eye: first emerging as the 13-year-old singer of Leave (Get Out), she then spent years mired in legal disputes with her label that prevented her releasing music. After reigniting her passionate fanbase with a string of independent, darker-sounding mixtapes (and one viral Drake cover), she released Mad Love, her long-delayed third album, in 2016. But Good to Know, released on her own imprint Clover Music, with its themes of independence and self-knowledge, carries with it a sense that she has finally arrived as the kind of artist she was always meant to be.

(Matador)
Will Toledo’s alt-rockers have emerged out of lo-fi fuzz, but seem unsure of where to turn as they drift toward the mainstream

Anyone wondering how things have changed in the world of lauded US alt-rockers Car Seat Headrest might consider the four years that separate Making a Door Less Open from their last album of new material. Ordinarily there would be nothing unusual about that gap – but in the first four years of Car Seat Headrest’s existence, its mastermind, Will Toledo, released seven albums (one of them a two-hour double), four EPs (one of them as long as an album) and two compilations of outtakes. That’s more than 150 songs and 12 hours of music: a lo-fi spewing forth of ideas that won Toledo a cult following, which then grew exponentially, both in size and rabidity, when he recruited a band and signed to the august US indie label Matador.

(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.

(Orchid Classics)
Natalya Romaniw (soprano), Lada Valešová (piano)
The on-the-rise soprano excels in this deeply personal Russian-Czech recital

Born in Swansea of Ukrainian descent, the outstanding young soprano Natalya Romaniw was singing – stunningly – the title role of Puccini’s Madam Butterfly at English National Opera when Covid-19 restrictions forced the abrupt termination of the run. She should also have performed the title role of Dvořák’s water nymph, Rusalka, at Garsington Opera this summer, where she made an impact in Tchaikovsky’s Eugene Onegin in 2016 and Smetana’s The Bartered Bride last summer. Disappointing for her at this turning point of her career, and for her growing number of fans.

Romaniw’s new album, Arion: Voyage of a Slavic Soul – dedicated to the memory of her Ukrainian grandfather, “my great musical inspiration”, explores repertoire by the Russians Tchaikovsky, Rimsky-Korsakov and Rachmaninov, and the Czechs Dvořák, Janáček and Novák. The pianist Lada Valešová captures the varied colours of the piano writing expertly, an equal and supportive partner. These 28 songs, especially the folk-rich examples by Janáček and Novák, suit Romaniw’s generous, big-toned voice, its timbre flecked and speckled with character and emotion. The eight songs by Dvořák grouped as Love Songs, Op 83, melancholy and lyrical, make us even more impatient to hear her Rusalka when the time comes.

US indie rock maverick Will Toledo is back with an experimental album that finds him collaborating with his own electronic side project

You cannot accuse Car Seat Headrest, AKA Will Toledo, of taking the easy route. Four years on from the release of breakthrough record Teens of Denial, Toledo is back with new album Making a Door Less Open, only now he is going under the name Trait and is wearing a gas mask in photos. Toledo’s restless and impassioned indie rock is looking a little different, too. The new album blends his classic songwriting chops with a bold exploration of electronic textures. This is the result of essentially making the album twice: once as Car Seat Headrest, and again alongside producer Andrew Katz as their jokey EDM side project 1 Trait Danger, before landing on a middle ground.

Related: The Guide: Staying In – sign up for our home entertainment tips

The musician on DIY smooching, dinner parties and why he won’t do interviews between 1.45pm and 2.15pm

Raised in Sheffield, Heaton, 57, founded the Housemartins in the early eighties. They had hit singles with Happy Hour and Caravan Of Love before splitting in 1988. Heaton then formed the Beautiful South, releasing 10 albums before disbanding in 2007. With former band member Jacqui Abbott, Heaton has released three albums, the most recent being Manchester Calling. He is married with three children and lives in Manchester.

What is the trait you most deplore in yourself?
Forgetfulness.

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)

The Liverpool singer-songwriter shifts effortlessly from alt-R&B to melodic, country-tinged pop

“You can be very creative using very little… I actually prefer having less to work with because that way you need to use more of your imagination,” the Liverpool-born Jetta told The Line of Best Fit last month. That spareness and sense of freedom is audible in her work, which she writes, records and produces herself. Her sound recalls the alt-R&B of Kelela or the xx, or the intimate balladry of Jessie Ware, but where mere copyists would hang endlessly on a yearning chorus and a dark blue mood, Jetta knows when to shift it up with a smart melodic left turn or a deft change of pace.

Now based in London, she’s been singing since she was four – her father was a recording engineer, her mother a choirmaster – and performing solo and singing backing vocals for the likes of Paloma Faith since she was 17, streamlining the powerful, punchy, soulful pop of her 2014 EP, Start a Riot, to a subtler, smokier style. That experience tells in her rich voice, the versatility of which recalls FKA twigs or Martina Topley-Bird. She switches easily from the bruised and contemplative Friend to the popping UK garage bop of Livin’ to the country-tinged, compulsive chime of forthcoming single I Wanna Know: a world of sound in a formidable one-woman operation.