From a veteran fire chief to a 93-year-old Holocaust survivor, over 71,000 people have died in the United States from the ongoing novel coronavirus pandemic.Those we've lost come from all backgrounds and walks of life and include the very people -- first responders and medical staff, who are working so diligently to stem the tide of the infection and care for the sick. Variously described as heroes, caring educators and loving family members, they will never be forgotten. ...

Jihadists burst into the gold mine where Moussa Tambura worked in Burkina Faso, forbidding everyone from smoking and drinking. “They attacked the site, killed people and burned houses,” said Tambura, 29, clenching his fists. Jihadists linked to al-Qaida and the Islamic State organization have been overrunning gold mines like Tambura’s one by one as they try to gain control of Burkina Faso’s most lucrative industry.

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.

French Resistance member Cecile Rol-Tanguy, who risked her life during World War II by working to liberate Paris from Nazi occupation, has died. Rol-Tanguy died on Friday at her home in Monteaux, in central France, as Europe commemorated the 75th anniversary of the surrender of Nazi Germany to Allied forces. The cause of her death was not disclosed by French officials.

Justice in case of 25-year-old black male delayed amid COVID-19 response. Apparently in Georgia bowling and tattooing are more essential.

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

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.

With New York’s glitziest fashion event in lockdown, people rose to the occasion on social media

• Coronavirus latest: at a glance

The annual Met Gala would have taken place in New York last week, had it not been postponed indefinitely in March owing to the pandemic. The theme would have been About Time: Fashion and Duration, or “time itself”, according to Andrew Bolton, the curator of the Metropolitan Museum of Art’s partner exhibition, which is ironic now that a morning can feel like a month, and a week can feel like a minute.

Ordinarily, it is one of my favourite celebrity bashes, sitting happily in the middle of a ridiculous/gorgeous Venn diagram, showing off high fashion so high that the people who point at Picassos and say “my five-year-old could have done that” will inevitably comment that “you couldn’t wear that down the shops”, as if the point of a ballgown in the shape of a chandelier were to make the trip to Tesco a bit more lively. (Having said that, you could definitely have used it to carry a few extra bags home.)

• 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.

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

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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.

Meanwhile police in London say they’re ‘losing the battle’ as people gather in parks despite coronavirus clockdown

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The coastguard has urged the public not to ignore the government’s stay-at-home message after recording its highest number of distress calls in a single day since the lockdown began.

The rescue service said it dealt with 97 incidents on Friday, more than half the daily average over the previous month.

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.

The I, Daniel Blake star on her parents’ generosity, working in a call centre and her love of ice-cream

Born in London, Squires, 32, studied at Rose Bruford College in London. She starred in the Ken Loach film, I, Daniel Blake in 2016, earning a Bafta nomination and winning most promising newcomer at the British Independent Film awards. Her West End debut in Cat On A Hot Tin Roof followed in 2017. Her television work includes The Miniaturist and Collateral; in the autumn she will play the lead in the Channel 4 drama, Adult Material.

What is your greatest fear?
Snakes.

She’s acted, modelled, worked with Kanye West and Drake. But the Black-ish star didn’t dare follow her mother, Diana Ross – until now

There is a strange noise coming from Tracee Ellis Ross’s Los Angeles garden. Hang on, she says, looking away from her computer screen to the window with an alarmed expression. “I’m just going to go check that out. Stand by!”

If this were a horror movie, then the stylish woman disappearing into the distance would never come back. But it isn’t a horror movie, it’s a Zoom interview, and Ross, a Golden Globe-winning actor best known for her role in the US sitcom Black-ish, is talking to me from the sunny living room of her home. Or at least she was; right now, I’m staring at a fiddle-leaf fig tree and a comfortable-looking couch.

In Céline Sciamma’s Portrait of a Lady on Fire, we finally steer away from seeing intimacy through the male gaze

The portrayal of lesbians in mainstream cinema tends to involve prosthetic vaginas and gratuitous sex scenes; so Céline Sciamma’s Portrait of a Lady on Fire comes as a breath of fresh air. It is the story of the burgeoning relationship between two young women – emancipated artist Marianne (Noémie Merlant), who is commissioned to paint a portrait of sexually repressed Héloïse (Adèle Haenel), leading to a heated romance.

On paper, it looks like the classic lesbian cinematic narrative – there is a buildup of tension, they finally kiss, and then their possibility of a future together seems doomed. However, what makes Portrait of a Lady on Fire different is its heightened self-awareness. The film is constructed with lesbian representation in mind through careful interrogation of the lesbian gaze. There is a lot of looking. Marianne looks at Héloïse because she has to secretly paint her, and Héloïse looks at Marianne out of curiosity. Eventually, there is a shift in the way they start looking at each other – out of desire.

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.

The actor said wearing a fat suit for the 2001 movie taught her what it is like to be humiliated as an obese person. Why are TV and film characters so rarely treated with dignity and respect?

‘Disaster” is how Gwyneth Paltrow has summed up her role in the 2001 film Shallow Hal, which will surprise few people who have actually seen it. Jack Black plays Hal, a man so shallow he has to be hypnotised in order to date a fat woman, who, through his boggled eyes, he sees as a very thin woman.

The nastiness of Shallow Hal, which has long appalled critics and fans alike, was front and centre in the trailer, where Hal’s friend attempts to “rescue” him from speaking to a fat woman, Rosemary, who is, in fact, willowy Paltrow dressed in a fat suit. But because he cannot see what she looks like, he falls for her “inner beauty”. It is an uncomfortable mix – a film that pretends to preach body acceptance while simultaneously inviting laughter at bodies that don’t fit into jeans size six and under. Take the scene where she is called a “rhino”, or the one where she cannonballs into a swimming pool causing a tidal wave. The message built into the script’s DNA is simple: fat is funny; it is OK to laugh at fat people.

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?

With cinemas closed and major titles delaying their release, the Academy has changed its rules to welcome some streaming titles. Will they regret it?

‘What about the Oscars?” might not be the question at the top of your mind as you consider the manifold uncertainties raised by the coronavirus pandemic. A Hollywood awards ceremony scheduled for the end of February 2021, one might think, has fewer immediate concerns than most cultural institutions do right now. Yet panic has been rising within the Academy: the show itself may go on, but with cinemas closed for the foreseeable future and dozens of major titles either rescheduling or indefinitely delaying their release dates, will it have have enough standout films to celebrate?

For some weeks now, the joke around the industry has been that Leigh Whannell’s hit psychothriller The Invisible Man – one of the few popular and critical successes to be released in the year’s early months – may as well collect its gongs now. But a crucial rule change announced on Tuesday by Academy CEO Dawn Hudson and president David Rubin has ensured that it will face some competition after all, even if its rivals never see the inside of a cinema.

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

Mark Lawson and Dan Milmo discuss the sustainability of the streaming service. Plus: Lara Spirit on why you should register to vote before Tuesday’s deadline

Netflix has risen from obscurity to be one of the most powerful media companies in the world with more than 150 million global subscribers. It has launched critically acclaimed hits such as House of Cards, The Crown and Unbelievable, as well as showcasing the back catalogues of popular television series. But as part of its rapid growth, the company has racked up huge debts.

Joining Anushka Asthana to discuss the long-term sustainability of Netflix are the TV critic Mark Lawson and the Guardian’s deputy business editor Dan Milmo.

Following a strikingly white and male list of Bafta nominees, this year’s Academy Awards shortlists are barely more diverse. It’s a chronic problem in an industry running out of excuses for its slow pace of change. Lanre Bakare examines why the Oscars are still so white. Plus: Joan E Greve on a hectic week of US politics

When the lists of nominees for the major film awards in 2020 were announced, there was, once again, a glaring anomaly. Not a single person of colour was nominated in the Bafta acting categories, while the Oscars managed only Cynthia Erivo for her part in Harriet.

It is an issue that the industry is well aware of: in 2015, the ceremony saw #OscarsSoWhite trending on Twitter, while actors such as Eddie Murphy were rebuking the academy from the stage back in the 1990s. So what explains the glacial pace of change? Guardian arts and culture correspondent Lanre Bakare tells Anushka Asthana that there have been plenty of false dawns over the years in the quest for greater diversity.

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.

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