The less well-off will be the most exposed to Covid-19 infection

The FT’s pick of the year’s best visual journalism, from extreme weather patterns to signs of a growing surveillance society

From business closures to movement restrictions, some countries’ policies show first signs of easing

Putting up barriers to travel is proving much easier than taking them down

Beijing edits European opinion piece published in Chinese state-controlled media

“The cultural bore of the autumn is the lover of Mad Men.” So wrote FT arts writer Peter Aspden in his weekly culture column, provoking a storm of reader responses – some grateful, others outraged. As it enters a fourth series, has Mad Men made the fatal mistake of falling in love with itself? Is the series losing its sense of time and place, and are the characters becoming stale? We look at Mad Men's plot, historical significance and, crucially, its impact on fashion – the skinny ties, hourglass figures, and excessive drink consumption. Has it influenced our own sense of style? In this week’s arts podcast, FT columnists Peter Aspden, John Lloyd and Nicola Copping are in the studio with arts editor Jan Dalley. Produced by Rob Minto and Griselda Murray Brown  

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As the final object is revealed, FT arts editor Jan Dalley talks to Peter Aspden about the significance of the BBC Radio 4 series 'A History of the World in 100 Objects' presented by Neil MacGregor, director of the British Museum.  

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How best to celebrate Chekhov's 150th anniversary? Sky Arts 2 have chosen to mark the occasion with "chekhov: comedy shorts" - four one-act plays transposed to the small screen, with a cast of well-known comedians including Johnny Vegas and Steve Coogan. But do they make good television? In this week's arts podcast, Neville Hawcock, the FT's deputy arts editor, talks to the paper's theatre critic, Sarah Hemming, and television columnist, John Lloyd, about the venture.  

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Established in 1895, the Venice Biennale has been called anachronistic - with its focus on separate national pavilions despite the international nature of today's art market. Is it an outdated model? If so, why are more countries than ever taking part this year? It is a series of exhibitions not an art fair - yet Venice has long been a centre of trade. Just how commercial is its Biennale? Jan Dalley puts these questions to Jackie Wullschlager and Peter Aspden, and picks some highlights ahead of the 54th Venice Biennale. Produced by Griselda Murray Brown  

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Established in 1895, the Venice Biennale has been called anachronistic - with its focus on separate national pavilions despite the international nature of today's art market. Is it an outdated model? If so, why are more countries than ever taking part this year? It is a series of exhibitions not an art fair - yet Venice has long been a centre of trade. Just how commercial is its Biennale? Jan Dalley puts these questions to Jackie Wullschlager and Peter Aspden, and picks some highlights ahead of the 54th Venice Biennale. Produced by Griselda Murray Brown  

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It premiered at Cannes to cheers and boos, and went on to win the Palm D’Or. Some called it a masterpiece; others dismissed it as overblown nonsense. But what’s so divisive about Terrence Malick’s ambitious new film? It’s a coming-of-age story set in 1950s Texas but it also has long sequences that explore the natural world and the origins of the universe. Does it work? And is its strong religious strain likely to turn off non-believers? Raphael Abraham is joined in the studio by Nick James, editor of Sight & Sound magazine, Peter Aspden, FT arts writer, and Leo Robson, film critic. Produced by Griselda Murray Brown  

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War Horse has just won five Tony Awards; last year the RSC put on an acclaimed production of Matilda; and now Punchdrunk are staging their first show for children, The Crash of the Elysium. Is children’s theatre on the up – or is it still the poor relation of “proper” theatre? Where is the new writing among the successful adaptations? And what are the best shows on in Britain this summer holiday? Jan Dalley puts these questions to Tony Graham, artistic director of London’s Unicorn Theatre, Sarah Hemming, FT theatre critic, and Neville Hawcock, deputy arts editor – as well as to four budding young critics. Produced by Griselda Murray Brown  

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On the occasion of his British Film Institute retrospective, Ken Loach, the acclaimed director of films such as Kes, Land and Freedom and the Cannes Palme d’Or winning The Wind that Shakes the Barley, talks about the state of political filmmaking. He is in the studio with Raphael Abraham, Peter Aspden and Lucian Robinson. Produced by Griselda Murray Brown  

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London has seen many Hamlets in recent years - David Tennant, Jude Law and Rory Kinnear to name but a few. And now Michael Sheen take the prized role in the Young Vic's new production. Jan Dalley talks to actor Simon Russell Beale, David Lan, artistic director of the Young Vic, and Sarah Hemming, theatre critic for the FT, about the enduring appeal of the troubled Dane. Produced by Griselda Murray Brown  

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From shouts of “he’s behind you” at a Christmas pantomime to truly “immersive” productions in which audience members shape the action, audience participation is rife. The radical Belgian theatre company Ontroerend Goed – known for shows that test theatrical as well as moral boundaries – are now staging their latest play, Audience, at London’s Soho Theatre. Sarah Hemming, FT theatre critic, talks to Matthieu Sys, an actor in Audience, Neville Hawcock, the FT’s deputy arts editor, and the critic Suzi Feay about the changing role of the audience. Produced by Griselda Murray Brown  

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The British Film Institute has just launched a season of Woody Allen comedies, ranging from his knockabout beginnings to the recent Midnight in Paris, his biggest commercial success to date. Like Match Point (2005) and Vicky Christina Barcelona (2008), Midnight in Paris was hailed as a “return to form” by some – but has he really still got it? How does his recent output compare to the earlier films? And do those classics still resonate today? Raphael Abraham is joined in the studio by Geoff Andrew, Head of Film Program at the BFI, Peter Aspden, FT arts writer and Nigel Andrews, FT film critic. Produced by Griselda Murray Brown  

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The arts podcast reviews new albums by two of the most venerable singer-songwriters around: Leonard Cohen's "Old Ideas" and Paul McCartney's "Kisses on the Bottom". Have they still got it? Does their latest work speak to modern times? And just what are we to make of Macca's album title? Neville Hawcock is joined in the studio by Ludovic Hunter-Tilney, FT pop critic, Peter Aspden, FT arts writer, and Gautam Malkani, FT writer and novelist. Produced by Griselda Murray Brown  

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She's the most successful female recording artist ever – and now, 30 years after her first single, Madonna has released her twelfth album, 'MDNA'. It's already caused a stir, with the video for the opening track 'Girl Gone Wild' banned on YouTube for being 'too raunchy'. But is she still good? What's more important: Madonna the brand or the artist? And, at 53, should she really be wearing those hot pants? Neville Hawcock puts these questions to FT writers Lucy Kellaway, Ludovic Hunter-Tilney and Richard Clayton. With clips from 'Girl Gone Wild', 'I'm a Sinner' and 'I'm Addicted'. Produced by Griselda Murray Brown  

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Ahead of the Victoria and Albert museum’s new exhibition 'British Design 1948-2012', Jan Dalley asks: can great design build a better society? Can Britain be called a leader in the field when its manufacturing industry is all but dead? And are we doing enough to foster a new generation of artists and designers? She is joined by the furniture designer Matthew Hilton, co-curator of the V&A show Christopher Breward, and FT arts writer Peter Aspden. Produced by Griselda Murray Brown  

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Forget “London 2012”, this summer it’s all about the 1990s – with the Stone Roses reunion gigs, Suede headlining the Hop Farm festival, and Blur playing the Olympics closing ceremony gig. As 40-something fans relive the glory days of “Cool Britannia”, FT pop critic Ludovic Hunter-Tilney looks back at the renaissance of British rock 20 years ago, and asks – was it all it was it cracked up to be? And what is its legacy? He is joined in the studio by Richard Clayton and David Cheal. Featuring music from the Stone Roses, Oasis, Blur and Pulp. Produced by Griselda Murray Brown  

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The Olivier award-winning playwright Simon Stephens is often drawn to dark subjects. “Pornography” tackled the 2005 London bombings; “Punk Rock” depicted violence at an English private school; and his controversial recent play “Three Kingdoms” shed light on the European sex trade. Now, Stephens’ adaptations of two classics – one old, one new – are about to open in London: a rewriting of Ibsen’s A Doll’s House and a dramatisation of Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time. He talks to Jan Dalley and Sarah Hemming. Produced by Griselda Murray Brown  

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Spoken word is a form of poetry usually written to be performed in front of an audience, and often associated with hip hop culture. In recent years its popularity has soared in the UK – and now, as part of the London Literature Festival, the Southbank Centre is hosting the final of “Shake the Dust”, a national poetry slam for teenagers. So, what’s the difference between “page” and “stage” poetry? Does spoken word have a political bent? And can poets hope to change anything? Jan Dalley puts these questions to the poet, rapper and playwright Kate Tempest; poet and artistic director of the “Shake The Dust” Jacob Sam-La Rose; and critic Suzi Feay. Produced by Griselda Murray Brown  

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Thinking differently is what makes Bowie stand out in the noisy world that killed off HMV. And it will be the key skill in the disembodied cultural universe of the future, says FT arts writer Peter Aspden.  

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Based on a novel by Peter Stephan Jungk, 'The Perfect American' is the story of one of the 20th century's biggest entertainment moguls. The FT's arts writer gives his verdict on the work's premiere at the Teatro Real, Madrid.  

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With "The Rite of Spring" in Paris and the Armory Show in New York, 1913 was a key moment for modernism. But it also marked a turning point in Britain's attitude to its past, says the FT's culture columnist  

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The FT's arts writer reports on Mat Collishaw's transition from conceptual shock artist to ‘proper’ draughtsman - and why, unlike revolution or virgin birth, an economic recession makes a poor subject for art  

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The German band’s shows at Tate Modern were wildly oversubscribed. But hot tickets and artistic pleasure don’t necessarily go hand in hand, says the FT’s arts writer  

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With his brother Jake, the British artist has tackled some of modernity’s grisliest themes. The FT’s arts writer finds out why he’s now trying his hand at music  

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Like it or not, the vibrancy of London’s art scene is due in part to the efforts of marketeers, public relations teams and great coffee shops, says the FT’s arts writer,  

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As a stage version of the classic BBC sitcom comes to London, the FT’s arts writer reflects on the series’ pioneering mix of comedy and drama  

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The emirate’s contemporary arts event considers some thorny regional issues in a deceptively laid-back way, says the FT’s arts writer  

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We love French culture, yet according to a recent study there’s something in it that makes the French miserable. But every nation’s artistic mindset has its drawbacks, argues the FT’s arts writer  

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As performance artist Marina Abramovic showed, the paradox of our digital age is our hunger for personal presence, says the FT's arts editor  

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Artists responded vigorously to the confrontational politics of Margaret Thatcher’s premiership – but the vivid creativity of the time had its roots in an earlier era, argues the FT’s arts editor  

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Doha’s aspiration to become a global centre for culture is admirable – its squeamishness over ancient Greek sculptures less so, says the FT’s arts writer  

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As a new documentary profiles the soft rock megastars, the FT’s arts writer reflects on their dramatic fall from grace – and their enduring appeal  

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Europe’s film-makers want protection from the might of Hollywood. That’s understandable, argues the FT’s arts writer, but also wrong-headed: the two traditions are deeply intertwined  

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As Margate’s Turner Contemporary gallery celebrates curiosity, the FT’s arts writer does his best to concentrate on the mind’s ability to wander  

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The praise lavished on football’s retiring greats has been wildly overblown, says the FT’s arts writer. Other cultural pursuits are far worthier of grown-ups’ attention  

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Pre-first world war Vienna has some curious parallels with Spain today  

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Where there is a public clamour for explanation, writers and artists should be unafraid to step in, says the FT's arts writer  

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Countries are vying to project their worth through art, sport and broadcasting. But ‘soft power’ is not always easy to control, says the FT’s arts writer  

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Visa problems and nervousness on the part of potential sponsors have made life hard for London’s festival of contemporary Arab culture. But as the Arab Spring gives way to harsher realities, such forums are needed more than ever, says the FT’s arts writer  

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The Nevada resort, a byword for pleasure-seeking in the here and now, is starting to take its history seriously, says the FT’s arts writer  

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Braving Daleks and Cybermen at the Royal Albert Hall, the FT’s arts writer reflects on the unlikely synergy between classical music and a children’s sci-fi series  

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The late pop singer, whose work has just gone on show at London’s Royal College of Art, was a far more nuanced figure than his punk image would suggest, argues the FT’s arts writer  

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Omnicom/Publicis, Penguin/Random House – the cultural landscape is dominated by ever fewer, ever bigger businesses. Yet artists and audiences alike are finding benefits in shunning their embrace  

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The sheer scale of suffering in the 1914-18 conflict is hard to grasp. As preparations begin for the centenary commemoration, the FT’s arts editor argues that culture has a vital role to play  

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Thomas Hirschhorn’s South Bronx installation brilliantly embodies the belief that art should be part of everyday life  

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