When his alarm goes off at 3:30 a.m., 54-year-old Jeff Reid knows it's time to begin his day and prepare for an eight-hour shift on the front lines of the coronavirus pandemic. As a grocery store worker, Reid never imagined he'd find himself in this position. Every day before his 5 a.m. shift, Reid prepares his morning essentials -- 1,000 milligrams of the powdered vitamin supplement Emergen-C and his morning prayers.

As novel coronavirus spreads throughout the United States, millions of Americans are spending more time at home.MORE: Here's everything coming to Disney+ in AprilBut whether you're doing so because of a job loss, working from home situation or otherwise taking part in the mass effort to stay safe, chances are you've been bored once or twice while living under quarantine.Thankfully, some very talented people have been creating extra-special performances and experiences that you can enjoy to help you cope with the new normal and that don't break any social distancing rules. ...

Systemic flaws within Glynn county’s district attorney offices led to a lack of action against the men involved in this ‘modern lynching’In the days and weeks after Ahmaud Arbery was shot and killed, multiple Glynn county law enforcement officials failed to thoroughly investigate his death and, in one case, refused to allow police officers to make arrests, the Guardian has learned.Arbery, 25, was jogging through the neighborhood just outside Brunswick, Georgia, on 23 February when he was shot dead by two white men. Gregory McMichael, 64, and his son Travis, 34, were charged with murder and aggravated assault on Thursday evening, after graphic video footage of the killing was released publicly and sparked national outrage.Lawyers for Arbery’s family have called the killing a “modern lynching” and decried the lack of action in the case prior to the release of the video, pointing to racial inequalities in the criminal justice system.In the police report, Gregory McMichael claimed Arbery “violently attacked” his son, who shot Arbery in self defense.Jackie Johnson, the Glynn county district attorney, refused to allow police officers who responded to arrest the two men, Glynn county commissioner Peter Murphy told the Guardian in a phone call on Friday.The police department was put in touch with one of Johnson’s assistant district attorneys after the shooting, but Johnson made the decision not to charge the father and son, the former having worked in her office for more than 20 years, Murphy said.“The police at the scene went to her, saying they were ready to arrest both of them,” Allen Booker, the Glynn county district 5 commissioner, told the Atlanta Journal-Constitution on Friday. “These were the police at the scene who had done the investigation. She shut them down to protect her friend McMichael.”Days later, Johnson recused herself. Johnson did not immediately respond to a request for comment. By 27 February, George Barnhill, the Waycross judicial district attorney, and the second of three DAs on the case, took over. Less than 24 hours after seeing the video and evidence compiled by the police, Murphy said, Barnhill decided to not charge the McMichaels.“And so within 24 hours the Glynn county police had been told by two separate DA offices not to make any arrests,” Murphy said. “And obviously, they want to assume no responsibility for their actions.”On 2 April, Barnhill sent an email to law enforcement authorities saying the 25-year-old Arbery had an “apparent aggressive nature” and that his family were “not strangers to the local criminal justice system”.“Arbery’s mental health records & prior convictions help explain his apparent aggressive nature and his possible thought pattern to attack an armed man,” Barnhill said in the email, which was first reported by the New York Times.“What it appears is he was purposely trying to assault the character of the victim and there’s just no reason why,” said Chris Stewart, one of the lawyers representing Arbery’s family.The family have pointed to the McMichaels’ connection to local law enforcement both at the district attorney’s office and police department as evidence of systemic flaws and roadblocks in their search for justice. It was only after the video of Arbery’s death was released this week that the third DA’s office requested the Georgia Bureau of Investigations (GBI) get involved.On Friday, GBI director Vic Reynolds told reporters he could not “answer what another agency did or didn’t see” in the first two months of the investigation.“But I can tell you that based on our involvement in this case and considering the fact we hit the ground running Wednesday morning and within 36 hours we had secured warrants for two individuals for felony murder, I think that speaks volumes for itself.”In a 7 April email sent to the office of Georgia attorney general Chris Carr, Barnhill recused himself because his son worked on a case involving Arbery while working in Johnson’s office.Lee Merritt, one of the lawyers who represents Arbery’s family, said Wanda Cooper-Jones, Arbery’s mother, found the connection between Barnhill’s son and her own on Facebook and brought it to the attention of his office.“She followed the links. That’s exactly how it happened,” he said to the Guardian on Friday by phone.According to a police report filed 23 February, Gregory and Travis McMichael grabbed their weapons, a .357 Magnum revolver and a shotgun, jumped into a truck and followed Arbery as he ran.In the email to Carr from early April, Barnhill references a “decent cell phone video of the entire shooting incident”, an apparent reference to the one leaked this week.Reynolds said on Friday that the investigation into the shooting, the video and the person who filmed it, would continue.“Every stone will be uncovered,” Reynolds said.

JOHANNESBURG -- The dealer had a stash, but the young woman wasn't getting through the door without an introduction. That's where her friend, already a trusted customer, came in. And even then there were complications.The woman wanted Stuyvesants. The dealer had Courtleighs. But in a South Africa where the sale of cigarettes is newly illegal, quibblers risk nicotine fits.She took the Courtleighs and high-tailed it out of there."I feel like I'm buying cocaine," said the woman, 29, who asked not to be named for fear of being fined or arrested.In late March, in the midst of the coronavirus outbreak, the South African government banned the sale of tobacco and alcohol as part of a broad lockdown -- one of the strictest anywhere. But even as the government has begun rolling back the lockdown, the bans remain in effect.A government minister, Nkosazana Dlamini-Zuma, cited "COVID-19 reasons" for maintaining the ban.Dlamini-Zuma, a doctor who served as health minister in the 1990s and is now cooperative governance minister, said that "besides the effects itself on the person's lungs," there were concerns that smoking could promote coronavirus infection."The way sometimes tobacco is shared does not allow for social distancing," she said, "but actually encourages the spread of the virus."Defending the ban of alcohol sales amid cries of protest from the liquor industry, President Cyril Ramaphosa said alcohol was "a hindrance to the fight against coronavirus.""There are proven links between the sale and consumption of alcohol and violent crime, motor vehicle accidents and other medical emergencies at a time when all public and private resources should be preparing to receive and treat vast numbers of COVID-19 patients," the president said in a statement.The government has also cited the risk of domestic violence in households where families are isolated at home.Perhaps not surprisingly, an underground market in both cigarettes and alcohol quickly sprung up.Like bootleg markets everywhere, it relies on word-of-mouth, as the 29-year-old woman who settled for the Courtleighs soon learned.She made her purchase in a suburb of Vereeniging, a city south of Johannesburg, where dealers are said to sell only to buyers referred by someone they know. And they sell only from their homes to avoid driving around with large quantities of cigarettes, since if they were to be caught at one of the dozens of police roadblocks set up around the country, they could be arrested on the spot.Instead, the smoker carries the risk -- and the cost. A pack of 20 cigarettes now goes for upward of 150 rand (about $8), three times the old legal price. Underground alcohol prices have also skyrocketed. A bottle of low-end vodka that usually sells for 120 rand ($6) now sells for at least 400 rand ($21).South Africa lifted its nationwide lockdown on May 1 but is continuing to implement strict social distancing and face mask rules. Already under siege from HIV, the country has around 8,200 confirmed cases of the coronavirus and has reported about 160 deaths.The country had implemented one of the world's most stringent lockdowns after recording its first coronavirus-related death in March. In addition to banning the sale of cigarettes and alcohol, the regulations banned jogging and dog-walking, and shuttered parks.Before the lockdown, with a ban looming, some smokers stocked up on cartons of cigarettes. But when the ban on cigarettes was extended beyond May 1, things for smokers began to grow tense.Now it's a matter of who you know. The cafe owner willing to slip a box under a container of milk, perhaps, or a supermarket cashier willing to steal and resell cigarettes languishing in the storeroom.In one Pretoria township where everyone knows everyone -- including the police -- few dare sell cigarettes from their homes. Instead, dealers hide among young men milling around on the neighborhood corner.A 23-year-old smoker said that when he saw a group of four men sharing a cigarette, he approached them to find out where they had found the contraband. They just so happened to be selling, they told him.Desperate after a failed attempt to quit smoking, he said, he paid 160 rand for his favorite brand and "ran home," where he took a photograph of the sealed pack, planning to share it on WhatsApp with envious fellow smokers.But when he opened the pack, a cloud of sawdust choked him. There was not a cigarette to be found.Smokers say they are finding fake cigarettes in sealed boxes that look exactly like legitimate brands. And those who are desperate enough are buying unknown brands that have appeared during the lockdown, with names like Pineapple and Chestel, and are notorious for inducing immediate coughing.The tobacco industry has not taken kindly to the government's new policy.The ban has fueled an underground cigarette trade that was thriving even before the lockdown. By some estimates, it made up more than 30% of the market, depriving the above-ground tobacco industry of profit and the government of tax revenue.Now both industry and government are losing even more.The country's largest cigarette manufacturer, British American Tobacco South Africa, at one point threatened legal action if the government did not drop its ban, but Wednesday changed course. "We have taken the decision not to pursue legal action at this stage," it said in a statement, "but, instead, to pursue further discussions with government."The company said, "We are convinced that by working together we can find a better solution that works for all South Africans and removes the threat of criminal sanction from 11 million tobacco consumers in the country."The ban on cigarettes and alcohol has set off a debate on civil liberties in a country with one of the world's most liberal constitutions. While South Africa was an early adopter of public smoking regulations, many see the bans as a symbol of government overreach.Though its coronavirus policies may have succeeded in keeping the outbreak in check, some are calling the government hypocritical. Junk food remains readily available. And officials strictly limited outdoor exercise during the lockdown.In a country increasingly struggling with diabetes and obesity, such inconsistencies undercut the government's argument that it is guarding the public's health, said one South African constitutional law expert, Pierre De Vos."In the long term, if the government overreaches and it wants to continue imposing these limits when the threat has subsided, I think the courts will invalidate this," he said.Still, the ban may have yielded at least one former smoker: the man who bought the box of sawdust."I cannot just go around losing money like that," he said. "I just said to myself, 'Nah, man, it's not worth it. I'll stay home and eat sweets, as that's what's legal now.'"This article originally appeared in The New York Times.(C) 2020 The New York Times Company

For weeks after Ahmaud Arbery was killed while running down a road in coastal southern Georgia, there were few public developments in the case of a 25-year-old unarmed black man who was shot while being pursued by two white men with weapons in February.Then a graphic video of the shooting surfaced online, spurring widespread outrage.Within days, the Georgia Bureau of Investigation had taken over the case. The video was criticized by celebrities and politicians alike, including President Donald Trump, who called the footage "very, very disturbing," and former Vice President Joe Biden, the presumptive Democratic presidential nominee, who said Arbery had essentially been "lynched before our very eyes."And in a major turn, the authorities announced Thursday night that they had arrested two suspects in the case and charged them with murder and aggravated assault.The video -- which by Friday officials had described as "a very important piece" of evidence in moving forward with criminal charges -- was first posted by WGIG, a radio station in Brunswick, Georgia, which said it had obtained the footage from an anonymous source.But in a twist emblematic of the small-town politics that have defined the case, that source turned out to be a criminal defense lawyer in town who had informally consulted with the suspects.The lawyer, Alan Tucker, said in an interview Friday that the video had come from the cellphone of a man who had filmed the episode and that he later gave the footage to the radio station. Tucker's role was confirmed by Scott Ryfun, who oversees the station's programming.Asked why he had leaked the video, Tucker said he had wanted to dispel rumors that he said had fueled tension in the community. "It wasn't two men with a Confederate flag in the back of a truck going down the road and shooting a jogger in the back," Tucker said."It got the truth out there as to what you could see," he added. "My purpose was not to exonerate them or convict them."The video, taken from inside a vehicle, shows Arbery running when he comes upon a white truck, with one man standing next to its open driver's-side door and another in the bed of the pickup. Arbery runs around the truck and disappears briefly from view. Then the man standing outside the truck tussles with him, and three gunshots are heard.The authorities identified Travis McMichael, 34, as the person who shot Arbery. His father, Gregory McMichael, 64, a retired investigator at the local district attorney's office, was also charged.Before the charges were filed this week, two prosecutors had recused themselves from handling the case, citing professional ties to Gregory McMichael. Tucker, too, said he had been an acquaintance of McMichael's from their work in legal circles.Reports suggest Tucker had consulted with the McMichael family in some capacity during the investigation, although it is not clear to what extent. Reached by The Washington Post before his arrest Thursday, Gregory McMichael referred questions to Tucker.Tucker declined to comment on his conversations with the McMichaels on Friday, citing attorney-client privilege."I'm not going to tell you what I told them or what they told me," he said, using profanity to say that any conversations -- had they occurred, he said -- were none of the public's business.At times during the interview, a woman could be heard in the background whispering suggested answers to Tucker.By Friday afternoon, Tucker said that it had been decided that he would not be retained as the lawyer for either of the McMichaels, and it was unclear who was representing them.Tucker said he would not be representing anyone else involved in the case, as the authorities announced Friday that they were pursuing a number of leads, including investigating the man who took the video.The man, Roddie Bryan, lives in the neighborhood. He had shared the video with the police before sharing it with Tucker and was cooperating with the authorities, his lawyer, Kevin Gough, said in an interview Friday evening."Mr. Bryan has never tried to hide anything from anybody," Gough said. "If anybody wanted a copy of the video, he would give it to them."But he said the added attention, including the scrutiny from the authorities, had come as a shock to his client, a mechanic who had since lost his job and received threats. "The atmosphere down here is very volatile," Gough said. "People are in fear. That's all a result of the last few days."The latest developments in the case on Friday fell on Arbery's birthday, when he would have turned 26. Thousands of people commemorated the occasion by running 2.23 miles, a nod to Feb. 23, the date he was killed.This article originally appeared in The New York Times.(C) 2020 The New York Times Company

The novel coronavirus pandemic has now killed more than 275,000 people worldwide. Over 3.9 million people across the world have been diagnosed with COVID-19, the disease caused by the new respiratory virus, according to data compiled by the Center for Systems Science and Engineering at Johns Hopkins University. The actual numbers are believed to be much higher due to testing shortages, many unreported cases and suspicions that some governments are hiding the scope of their nations' outbreaks.

• France Galop lobbied Emmanuel Macron for go-ahead
• Longchamp one of three meetings to take place on Monday

France Galop, the ruling body of French racing, confirmed on Saturday it will resume with meetings at Longchamp, Toulouse and Compiegne on Monday, but only after what is believed to have been urgent behind-the-scenes lobbying by Edouard de Rothschild, FG’s president, late on Friday night that persuaded Emmanuel Macron, the French president, to finally give his approval to the resumption.

De Rothschild thanked Macron and Édouard Philippe, France’s prime minister, for their efforts in a tweet in the early hours of Saturday morning that confirmed racing had seen off last-minute objections to its return.

To campaigners’ dismay, the UK’s biggest hubs, Heathrow and Gatwick, are pushing on with plans to increase capacity

Christine Taylor has lived her entire life in the shadow of London’s Heathrow airport, her childhood bedroom affording a view of one of its two runways. She grew up in Sipson, a village that can trace its history back more than 1,000 years, but now sits immediately north of Britain’s busiest airline hub.

Now living a mile to the east in Harlington, Taylor, 62, is experiencing a rare moment of quiet, thanks to the dramatic reduction in air traffic caused by the coronavirus pandemic.

Desmond Mombeyarara, 34, was with his son when officers shot him with a stun gun

Anti-racism protesters have gathered outside a petrol station in Greater Manchester to demonstrate against the stun gun shooting by police of a black man in the company of his distressed son.

Desmond Mombeyarara, 34, was shot with a stun gun by police on Wednesday evening after officers stopped him for allegedly speeding.

MP called for love to be added to list of permitted reasons for long-distance journeys

• Coronavirus – latest updates
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Couples separated by France’s strict coronavirus rules will remain lovelorn after ministers ruled out a proposed change to the law extending the country’s state of health emergency.

The “lovers’ amendment”, as it was called, was proposed by an MP during a debate on the legislation in the lower house the national assembly.

Excellent film-maker that he is, Watiti seems to fit the Marvel blueprint far more easily than he does Star Wars’ more venerable, old-school template

When entertainment reporters play Hollywood roulette, the practice of attaching directors and stars to forthcoming movies based on little more than rumour, their little white balls nearly always seem to land on Taika Waititi’s number. If you’ve been keeping a close eye on this column over the past year, you’ve probably spotted the white-hot Kiwi director being touted for a remake of Flash Gordon and the next Deadpool movie among other projects, neither of which have yet come to fruition.

Waititi’s next film, according to reports this week, will be a Star Wars episode. Will he end up making it to the first day of production on this one? The chances seem better, as Disney has officially confirmed the appointment via the space saga’s official website, with 1917 co-writer Krysty Wilson-Cairns helping deliver a script. But this is Star Wars we are talking about – Colin Trevorrow, Josh Trank, Phil Lord and Christopher Miller, David Benioff and DB Weiss are among the numerous film-makers who have cheerily signed up to try to bring back the glory days of the long-running series in recent times, only to ultimately fall foul of Lucasfilm president Kathleen Kennedy’s merciless Force choke.

Julia Garner excels as a junior assistant to a predatory media mogul boss in Kitty Green’s powerfully understated #MeToo drama

A performance of few words but immense physical eloquence by Julia Garner anchors this impressively chilling #MeToo-era drama about workplace harassment and abuse. Following a day in the life of a young woman with dreams of making her mark in the film and television industry, it’s a sobering portrait of a dirty little secret that was brought into the news spotlight by the Harvey Weinstein scandal. All the more powerful for its understated tone, this low-key piece packs a hefty punch as it exposes the web of silence that enabled a very modern horror story.

Garner (who won an Emmy for her work on TV’s Ozark) is Jane, a high-achieving college graduate who finds herself on the bottom rung of the ladder as a junior assistant to an unnamed entertainment mogul in New York. The appointment may hold promises of great opportunities ahead, but for now it’s fairly soul destroying. An opening sequence, played out to the lonely strains of Tamar-kali’s sparse score, finds Jane being driven to the office before dawn, turning on the lights above her colleagues’ desks – first in, last out. Her tasks are menial yet weirdly demanding: making coffee, changing the paper in the photocopier, ordering lunch, and arranging travel and accommodation for an ever-changing roster of offhand executives and needy clients.

The star of M*A*S*H, The Long Goodbye – and more recently, Friends – talks about drugs, his fiery marriage to Barbra Streisand and getting his best reviews from Groucho Marx and Muhammad Ali

The best review ever received by Elliott Gould – renowned actor and star of M*A*S*H and The Long Goodbye; not to mention, Ross and Monica’s dad on Friends – was from Groucho Marx. The two of them had become close in the comedian’s latter years – so close, Gould says, “he used to let me shave him”. One day Marx asked Gould to change a lightbulb in his bedroom. Gould took off his shoes, stood on the bed and replaced the broken bulb. Marx told him: “That was the best acting I’ve ever seen you do.”

Gould, now 81, has been telling the story for decades – but it is clear even in our pixelated video call that it still delights him. “Isn’t that great?” he says, his distinctive nasal, New York baritone now deepened with age. As we speak he is sitting at a computer at a friend’s house in Los Angeles, relaxed in a blue hoodie, with a seemingly bottomless mug of coffee before him. In isolation on either side of the Atlantic, neither of us has anywhere to be. And after more than half a century in Hollywood, in which he went from leading man to exile and, eventually, fixture – Gould could fill days, not just hours, with his stories. Even without his eight-year marriage to Barbra Streisand.

Staff of the magazine that kicked off the French New Wave say its new elite owners pose a threat to editorial independence

The mass resignation of the staff of Cahiers du Cinéma, the film journal that launched the French New Wave, has reignited debate in France about the possibility of critical independence in a society whose major stakeholders frequently operate in several spheres.

On Thursday, the 15 staff writers and editors announced their resignation, saying they believed its new owners posed a threat to the magazine’s cherished independence.

A princess seeking revenge after her royal privileges are revoked? A drifter trying to get away from her awful father? Or maybe a guardian of Captain Britain?

Now that Meghan Markle has had her royal purse strings cut, the time has come for her to prove that she is capable of making a living on her own merits. And, ever the everywoman, it has been reported that Markle’s first step is exactly the same one that we’d all make upon finding ourselves suddenly short of money – she has instructed her agent to find her a role in a superhero film.

At this point it’s best to assume that she’s looking for something more substantial than her pre-royal movie career offered; she won’t want a made-for-TV superhero movie, or to appear in a single scene of a larger film as a nameless woman whose only purpose in the universe is to give the middle-aged leading man something to absent-mindedly flirt at. So, who should she play? Luckily, as crowded as the superhero genre currently is, there is still plenty of untapped potential for her. Here are my suggestions.

From his fateful game of chess to a moving turn in The Diving Bell and the Butterfly, Von Sydow was the last standard bearer of Bergman’s high-minded movie idiom

•Max von Sydow dies aged 90
•A life in pictures

The opening of the seventh seal in the Book of Revelation, disclosing the truth of God’s existence and the second coming, will result in a mysterious silence in the kingdom of heaven – then the sound of trumpets and the thunderous uproar of Earth’s apocalyptic ending. In the movies, no actor has ever represented these ideas more seriously, nor shown humanity’s anguish in the face of God’s implacable silence or unassuageable anger more clearly, than Max von Sydow. He was virtually a book of revelation in himself.

The passionate severity of Von Sydow – and his ability to impersonate the ascetic nobility of some impossibly remote priestly or knightly order but with very human flaws – formed the bedrock of Ingmar Bergman’s The Seventh Seal and the staggering series of films he was to make with Bergman in the 1950s and 1960s. Beyond that, he virtually epitomised an entire, distinctively high-minded attitude to cinematic art in Europe. His films for Bergman were composed in a movie idiom that drew on Ibsen and Strindberg, Sjöström and Dreyer – and of which, since Bergman’s death in 2007, Von Sydow could be said to be the final standard bearer.

SBS On Demand is streaming more than 10 hours of his features. Our isolated film critic took the bait and watched them all

Many terrible things are discussed in the maelstrom of mayhem and misery I call my inbox – terrible, terrible things, such as requests involving me needing to go somewhere, or speak to someone or do something.

But last Thursday afternoon a lovely email broke through like a ray of sunshine piercing grey clouds on a stormy day. It was an email from a publicist at SBS. The subject line read: “Binge 627 minutes of ADAM DRIVER for free.”

Hollywood loves a good comeback, and post-coronavirus will be no exception, writes costume designer Kristin M Burke

Many events have killed the film industry: the 1918 influenza epidemic, the second world war, the invention of television, the invention of VCRs, the invention of the internet, 9-11, strike after strike after strike. And yet, like a phoenix, it rises, every time stronger than before. The appetite for its product is insatiable especially in times of political trouble and uncertainty about the future. People want to escape. They want to be entertained.

The way we make movies most certainly must change. In the best of circumstances, we are a crew of 75 people jammed into a room with very little ventilation, holding our breath until we hear “CUT”. We are in close contact with one another all day long. We never really thought about it before. All of that is about to change. Film sets usually function as big families, and moving forward, that family unit will take on a stronger, protective meaning. This is how we self-regulate in the post-pandemic era.

In the wake of Covid-19, We Are One: A Global Film Festival is taking the experience online. But cinema is a bigger encounter

Every year, at Cannes (and other festivals) there’s a plaintive argument about what Cannes (or other festivals) are really all “about”. Some Savonarola-type person will dash the glass of rosé out of your hand, throw your canape into the Med and tell you Cannes is not about red-carpet narcissism, not about stars preening in the flashbulb glare of celeb-worship, not about L’Oréal sponsorship, not about getting drunk at a million late-night parties. It’s about the movies, about cinema itself.

Of course. And that’s what the new Covid-19-related We Are One: A Global Film Festival appears to offer: the 10-day online festival, beginning 29 May, curated by Jane Rosenthal of the Tribeca film festival, featuring arthouse films (though not the big-ticket Hollywood items) from Cannes, Venice, Berlin and many more, streaming for free in return for an optional donation to the World Health Organization’s Covid-19 fund. So there you have it. A festival with all the frills and extras and flummeries stripped away. Just you, in your bedroom, with your laptop, communing with cinema. Isn’t that what it’s all about?

The Oscar-winning sword-and-sandals Russell Crowe vehicle refreshed old cliches, before ushering in a spate of copycats

“Joey, do you like movies about gladiators?” the creepy pilot asks the small boy in Airplane!. To younger audiences, the joke no longer makes any sense. In Airplane!’s day, sword-and-sandals movies had become an outdated, unwittingly homoerotic joke. But then came Gladiator, and the joke was on us. Released 20 years ago this month, Ridley Scott’s Roman epic gave the old cliches a new lease of life. It was all here: Colosseum action! Rippling man-flesh! Tigers! But Gladiator had its cheesecake and ate it. It served up crowd-pleasing spectacle and airline-ad visuals but also solemn, Oscar-worthy drama (and, in retrospect, a fair degree of camp).

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

Ed Pilkington looks ahead to Weinstein’s court battle where he faces charges of rape and sexual assault, which he denies. And Jamie Grierson on why counter-terror police have listed Extinction Rebellion as a ‘key threat’

The film producer Harvey Weinstein will stand trial this week in New York City accused of five charges, including rape and sexual assault. Weinstein denies all allegations. The trial, expected to last about six weeks, will focus on the witness accounts of two alleged victims who claim they were assaulted by Weinstein.

The Guardian’s Ed Pilkington has been in court for the jury selection process in which 2,000 potential jurors were whittled down to 12 who will decide Weinstein’s fate. He tells Anushka Asthana that the case will cause a sensation in the US and around the world, but that it should not be seen as #MeToo on trial.

Like dozens of women in the entertainment industry, the actor, model and writer Zoë Brock has claimed she had a traumatic encounter with the film producer Harvey Weinstein. Now she is faced with a settlement offer that she believes would allow him to escape blame for the alleged assaults. Also today: Lily Kuo on the spread of the deadly coronavirus in China

The actor, model and writer Zoë Brock was on a retreat in the New Zealand bush in 2017 when an email pinged into her inbox. It was from a friend sending a link to a breaking news story of allegations against Harvey Weinstein. The claims from several women against the film producer were eerily familiar to an incident that Brock alleges happened to her.

This week, Weinstein goes on trial charged with rape and sexual assault. But for dozens of women with claims against him, their only recourse is to civil courts. Brock tells Anushka Asthana that while she is part of the class action suit against Weinstein, she is deeply unhappy with the terms of the proposed settlement, which she believes would allow him to accept no blame for the allegations.

Kirk Douglas, Hollywood legend and star of Spartacus, has died aged 103. Douglas was nominated for three Oscars and his extensive filmography includes Paths of Glory, 20,000 Leagues Under the Sea and Lust for Life. The Hollywood legend's death was announced by his son, fellow actor Michael Douglas

• Kirk Douglas, Hollywood legend and star of Spartacus, dies aged 103

Donald Trump takes a jab at the South Korean film Parasite, best picture at this year's Oscars, telling supporters in Colorado that the US has 'enough problems with South Korea', and: ‘Can we get Gone With the Wind back?’ He also dismisses Brad Pitt, who – during his Oscars speech said his 45-second slot was more than John Bolton received at the US president's Senate impeachment trial. Trump calls the actor a 'little wise guy'

• Parasite's best picture Oscar could kickstart a new era of internationalism
  

Have you ever noticed that in film and on TV, period dramas tend to have almost entirely white casts? It’s almost as if, at least in film and TV land, black people do not feature in British history at all. The Guardian’s Josh Toussaint-Strauss finds out how accurate costume dramas are in terms of racial diversity, and looks into the reasons why period dramas might get whitewashed

Wagner Moura and Ana de Armas give strong performances in a mostly effective retelling of the life and tragic death of a celebrated Brazilian diplomat

There’s an old school charm to Sergio, documentarian Greg Barker’s narrative portrait of UN diplomat Sérgio Vieira de Mello, a dramatic retelling of a life he already brought to the screen in a 2009 documentary of the same name. Barker’s knowledge of Sérgio’s life and accomplishments is backgrounded by a clear respect for who he was and so while the film is factually detailed, as one would expect, it’s also rooted in a desire to showcase his humanity, both in and out of work, with Barker deciding to lean into full-tilt romantic tragedy, perhaps also as a way of differentiating his two Sergios.

Related: Love Wedding Repeat review – laboured Netflix romcom farce

This uncanny story of preppy drug dealers has a touch of Heathers and a bit of Bret Easton Ellis, and an intriguing take on what high school is really like

Tayarisha Poe, like her partial namesake, has a gift for the uncanny. She is the photographer and film-maker behind this feature debut, which began as an online multimedia project and was developed as a conventional movie through the Sundance screenwriters and directors labs. What has emerged is an intriguing, opaque, tonally elusive story that seems weirdly unfinished. It is set in a privileged high school – a world of ivy-covered stone buildings and shady quadrangles where rich kids are separated into malign and mutually hostile cliques. It has a touch of Donna Tartt and Bret Easton Ellis, a hint of Heathers and a bit of the elegant, disdainful satire of Dear White People.

Somehow, though, it is odder, more stylised and contrived, always holding out the possibility that it is set in the future, or in an alternative present on some other planet, or inside the head of one of its characters who is having a disturbing dream – the kind that ends just as it is about to give up its meaning. Right until the closing credits, I half-expected the face of each person on screen to flip upwards, revealing a Stepford-like set of dials.

An affectionate and absorbing documentary from film-maker Rachel Mason about her devout parents, who ran a famous adult bookstore in early-80s LA

Here is a documentary with an absorbing and unexpectedly complicated story to tell, whose paradoxes and sadnesses are not entirely resolved by the end. Artist and film-maker Rachel Mason has created an affectionate portrait of her elderly parents, Karen and Barry, who in many ways are like one of the (fictional) old couples in When Harry Met Sally.

Karen is a former journalist, devoutly Jewish, and Barry is a former special visual effects engineer who worked on Stanley Kubrick’s 2001 and invented a modification for kidney dialysis machines. But they found themselves in a tough financial spot in the early 1980s and took over Circus of Books, a gay porn bookstore in Los Angeles that also sold movies called things like Confessions of a Two Dick Slut and Don’t Drop the Soap, and was one of Larry Flynt’s first distribution points. Under their shrewd management, the store boomed, opened another branch and became a well-known meeting place for LGBT people, while all the time, the Masons were a conventional family who kept their three children well away from the business. Karen movingly – and honestly – recounts how upset she was to discover that one of her sons was gay: the business and family life were that separate.

Ad-Rock and Mike D host a convivial trip down memory lane in this filmed record of a live show staged in tribute to third member Adam Yauch

The release of this documentary coincides with #MeAt20, a heart-twisting craze on social media for posting pictures of yourself at 20 years old. Middle-aged people’s timelines are speckled with funny, sweet and sometimes unbearably sad images of themselves in unlined, unformed youth, doing goofy things in milky analogue pictures from back when you had 12 or 24 exposures on your roll-film camera and getting them developed at Boots was a pricey business. That’s what I thought of while watching this engaging, oddly moving film from Spike Jonze: a record of the live stage show he devised at the Kings Theatre in Brooklyn, New York, in tribute to white hip-hop stars and tongue-in-cheek party-libertarian activists the Beastie Boys. It is presented by the two surviving members, Adam Horovitz and Michael Diamond, in tribute to the third member, Adam Yauch, who died of cancer in 2012. Jonze is reuniting with the band after having directed a string of their music videos, including the crime-TV spoof for their single Sabotage in 1994.

Horovitz and Diamond amble on stage, apparently dressed head-to-toe in Gap, and appear for all the world to be about to unveil the iPhone 4S, although actually their jokey anecdotalism makes the show in some ways like the regional tours once presented by George Best and Rodney Marsh. With amiably rehearsed back-and-forth banter, they introduce the embarrassing photos and excruciating TV clips that are shown on a big screen. And the effect of seeing them juxtaposed with the plump-faced frizzy-haired imps of 1986 is startling and bizarre. In the present day, the advancing years seem to have boiled away the badass attitude, leaving behind the quirky humour.

A manic pre-summer caper skirts near dark territory but remains a mostly kid-friendly tale of an unusual family

A year after Sony’s wonderfully inventive Into the Spider-Verse became the first non-Pixar/Disney/Dreamworks film to win the best animated feature Oscar since 2011, the race was again populated by outliers. Frozen 2 was snubbed and instead Laika crept back into the spotlight with Missing Link (after winning the Golden Globe) and Netflix snuck in with two originals – Klaus and I Lost My Body – marking the streamer’s first time breaking into the pack. While Toy Story 4 might have ultimately won out, the lineup continued to reflect both a widening field and an embrace of more left-field choices, a much-needed jolt of energy in what used to be a two-horse race.

Related: Trolls World Tour review – eyeball-frazzling sequel offers same again

Chris Hemsworth plays a super-tough mercenary on an all-guns-blazing mission to rescue a crime lord’s kidnapped son

Sadly, this has nothing to do with dentistry. Extraction is a made-for-Netflix action thriller from veterans of the Marvel Comic Universe – screenwriter Joe Russo, stunt-specialist-turned-director Sam Hargrave and star Chris Hemsworth. It’s based on the graphic novel Ciudad (which Russo co-authored), transferring the action from the Paraguayan city of Ciudad Del Este to Dhaka in Bangladesh.

Extraction is a little bit hokey and absurd, and the very end has an exasperating cop-out – but it has to be admitted that, in terms of pure action octane, Russo and Hargrave bring the noise, and there are quite a few long-distance “sniper” scenes in which people get taken out from miles away as the bullet travels through their skulls with a resonant thoonk.

A visually distinctive, semi-effective Canadian thriller pits a First Nation community against a zombie invasion

Given how movies about the undead refuse to die, a tweak on what’s become a decaying formula is always a welcome surprise, especially if said tweak involves a little more than “what about zombies but strippers”. Back in the 60s, and at rare times since, the zombie subgenre has been used as a way of sneaking social commentary into horror, the set-up of an invading force destroying a community allowing for a range of sly metaphors.

Related: 'I'm indigenizing zombies': behind gory First Nation horror Blood Quantum

This heartwarming documentary traces the lives of a baseball star and her partner, now in their 90s, who pretended to be ‘just good friends’ for decades

This documentary from Netflix is a real heart-soother. Directed with tremendous sensitivity and intimacy by Chris Bolan, it’s a love story about two women now in their 90s – Terry Donahue and Pat Henschel, who have been together since the 1940s.

For decades they kept up the pretence of being “just good friends” to their families before finally coming out a few years ago. Talking to outsiders, they still describe each other as “cousins”. The legacy of shame and fear among older people in the gay community is explored in the film, but the overwhelming mood here is love.

A ridiculously titled film about a couple who stumble upon a stash of money is absurd and cliched but mostly entertaining

One of the most surprising reveals of last October’s unprecedented Netflix data dump was the astounding popularity of cheap psycho-thriller Secret Obsession. While the streamer proudly touted new films from Alfonso Cuarón, Paul Greengrass and the Coens in the same period, it was a no-star, dim-plotted slab of schlock that netted more viewers, with an estimated 40m households eager to find out just how secret that obsession really was. Modelled after a Lifetime TV movie (with a Lifetime TV director at the helm), it was an important victory for Netflix because it revealed a substantial audience for tiny-budgeted thrillers with generic titles, a bracket they could easily fill at little expense.

Related: The Half of It review – charming Netflix teen comedy takes on Cyrano

A talented trio of young actors enliven a familiar yet engaging tale of a queer love triangle at high school

There’s a satisfying ease to Netflix high school comedy The Half of It, a charming twist on the Cyrano de Bergerac formula that deserves slightly more attention than most of the streamer’s other made-to-order sleepover pics. A teen market that had been underserved by studios has now been exhaustively cornered by the company but often without much care or inventiveness, a conveyor belt of content that prioritises quantity over quality. It’s refreshing then to see a film such as this emerge from the same production line, slickly ticking all the same boxes but with a noticeable uplift in enthusiasm, grafting its own identity on to the boilerplate format.

Related: Never Have I Ever review – Netflix teen series slowly finds its voice

Moonlight’s Ashton Sanders gives a compelling lead performance as a young man trying to escape his father’s shadow

It’s an unusually stacked week for new films on Netflix (one they might regret when pre-pandemic content starts to dry up) with a teen comedy, a B-thriller and a romantic documentary all launching before the weekend, a feast for viewers at home but a glut that could overshadow one of their finer offerings quietly releasing alongside. All Day and a Night, a tough-minded drama from Black Panther co-writer Joe Robert Cole, might not be quite worthy enough for their awards slate (although it’s a damn sight more compelling than The Two Popes …) but it’s a step up from what one might expect of an unhyped May movie from the streamer. Think of it as a classier boutique release, deserving of a higher shelf placement.

Related: The Half of It review – charming Netflix teen comedy takes on Cyrano

The UK Cinema Association aims to resume business before July release of Christopher Nolan’s blockbuster Tenet, as studios and distributors scramble to protect theatrical business model

The UK cinema industry is understood to be lobbying the government to approve a proposed reopening scheme that would see venues welcome customers by the end of June.

Phil Clapp, the chief executive of the UK Cinema Association said: “We’ve made representations to government on the safeguards which UK cinemas would look to have in place for audiences and staff alike upon re-opening, and have asked that consideration be given – with these in mind – to allow cinemas to open by the end of June.”

The Hollywood Reporter says numerous attendees returned from the late-January festival with coronavirus symptoms

A new report suggests that January’s Sundance film festival, the annual gathering of cinephiles in Park City, Utah, may have been a key early hub for coronavirus in the US. The article, in the Hollywood Reporter, cites numerous attendees who experienced Covid-19-like symptoms either during or immediately after the festival. None were believed to have been tested for the disease.

Sundance this year attracted about 120,000 people to the small mountain resort, to watch films and party in confined spaces. The snowy conditions that make Park City perfect for skiing mean that socialising indoors is common, as are some flu-like symptoms as a result of the low temperature and high altitude.

In another blistering attack on Donald Trump, the actor says the New York governor is doing what a president should do

Robert De Niro has said he would be keen to play New York state governor Andrew Cuomo in a future movie about the coronavirus epidemic, as the actor made another blistering attack on Donald Trump.

Appearing on The Late Show with Stephen Colbert, De Niro expressed his admiration for Cuomo, saying: “He’s doing what a president should do.” He added: “I could see [a President Cuomo]. I am for Biden, and want everything to go well for Biden, but at least we have a person who is very capable, a very capable backup, if you will … he’s doing a great job, he’s doing what any president should do.”

My friend Tom convinced me that Roger Moore’s finest non-Bond moment was this 1974 corker about a maverick mining engineer. He’ll convince you, too

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The pre-eminent film in Sir Roger Moore’s non-Bond oeuvre was released in 1974, between Live and Let Die and The Man With the Golden Gun.

I was born in 1978, so I was far too young to see Gold in its first flush of youth, let alone mine. So was my friend Tom.