Live-action animated film starring John Cena and Will Forte will hit cinemas in 2026, after it was controversially shelved in favour of a $30m tax write-down

For once, things are working out for Wile E Coyote.

The film Coyote vs Acme, which stars John Cena and Will Forte acting alongside beloved Looney Tunes cartoon characters, will finally be released to the public, almost two years after the completed film was shelved by Warner Bros as part of a tax write-off .

Hampstead theatre, London
Sophie Melville and Laura Whitmore star in an ambitious yet flawed play about the pressures of parenthood

John Donnelly’s new play is perceptive about early parenthood, especially the way a baby’s arrival stress-tests your relationship. He particularly captures the strange combination of surety and fragility in which families take shape. Designer Tom Piper has shrunk Hampstead’s wide stage and surrounded it by scaffolding to create a sense not just of lives under construction but also the preciousness of a family unit sheltered from danger. Donnelly’s drama suggests a kind of 100-minute cortisol release as a mother and father battle with fight or flight responses. But despite the nuanced domestic backdrop, Apex Predator’s interwoven supernatural and thriller elements are bloodless, albeit not literally.

Mia and Joe live in London with their 11-year-old son, Alfie, and five-month-old Isla. Joe is frequently away for work of a sensitive, classified nature. Mia is driven to despair by sleep deprivation, exacerbated by the noise from upstairs neighbours. To make matters worse, Alfie has been biting other children but his art teacher, Ana, is here to help. Maybe she could give Alfie some extra free-of-charge tuition, take Mia on a boozy night out, perhaps offer her own breast for Isla to suckle?

At Hampstead theatre, London , until 26 April

Varada Sethu joining series as Doctor’s latest companion, marking first time Tardis team is wholly people of colour

Criticisms that Doctor Who has become too “woke” prove the series is doing the right thing by being inclusive, its new star Varada Sethu has said.

Sethu plays the Doctor’s latest travelling companion, Belinda Chandra, in new episodes airing next month. With Ncuti Gatwa returning as the Doctor, the pairing marks the first time a Tardis team will comprise solely people of colour.

This film shows how a ‘hallucinogenically optimistic’ vision descended into the hellscape we know today. Young, confident men really should not rule the internet …

It turns out that Mike Judge’s supposed sitcom Silicon Valley was a documentary after all. My bad, as the people young and in touch enough with the world to have known this all along may still say.

Twitter: Breaking the Bird is a 75-minute CNN film chronicling the rise, fall and possibly end of the social media site that was launched by a group of eager young things in 2006 amid a widespread belief – at least in the Valley – in the power of the internet to remake the world in radically better ways. This, a co-founder or two has come to consider since, may have been a “hallucinogenically optimistic” view. Well, we were all young once. Although that feels – and in no small measure because of Twitter – like a very long time ago.

From vestment-ripper The Thorn Birds to the steamy Dr Kildare, the actor – who has died at 90 – was known for playing devastatingly attractive and unattainable men

Richard Chamberlain, who has died at 90 , achieved exceptional television celebrity by playing devastatingly attractive men whose professions made them unavailable to women.

In The Thorn Birds – a 1983 miniseries that achieved huge ratings for ABC in the US and BBC One in the UK – he was Ralph De Bricassart, a Catholic priest whose vow of celibacy is tested beyond breaking point over four decades by Meggie, a young woman whom he meets on an Australian sheep farm.

There’s been no innovation in accessible TV since the 90s. That’s why we created the personalised service Ultra Access, so everyone can tweak how they watch based on their own needs

When I was growing up, I was obsessed with watching TV. I would rush home after school and wake up early on weekends, just to soak up the magic of storytelling on screen. But as a child with partial deafness, I could only catch about 70% of the dialogue; the rest was guesswork. Like being in a foreign country, winging it with limited vocab, not having full access is tiring and everything is tinged with a sense of alienation.

One day in the early 80s my parents brought home a new TV set. Up flicked a page of blocky coloured digital text – Teletext. They pressed page 888 and subtitles suddenly appeared. It was a revolution, my own personal moon landing. The half stories were unlocked. I had full access.

The novelist was just 12 when the ex-busker stunned a mammoth crowd at the Free Nelson Mandela concert – and sent everyone racing to Woolworths for her astonishing debut album. Its simple, honest, perfect songs of protest have mesmerised the writer ever since

On 11 June 1988, I was 12 and sitting with my family watching the Free Nelson Mandela Concert on TV. As a clan, we were old hands at trying to free Mandela, having done our fair share of marching and boycotting over the years, and this concert felt like the culmination of all that. There was a lot of excitement in the room: we squeezed on to the sofa and opened the windows wide. (If the wind’s blowing in the right direction, you can hear a Wembley audience roar from Willesden.)

Many world-famous musicians played that day. Most of them I don’t remember, but one I will never forget: Tracy Chapman. I think a lot of people feel that way, though when you rewatch the footage you realise what she was up against at the time. Nobody cheers as she takes the stage. In fact, the crowd seem hardly aware she’s arrived. People are chanting, chatting or just partying among themselves.

Cadogan Hall, London
Chelsea Opera Group were at their best and conductor Paul Wingfield drove the score hard in this rare outing for the French composer’s startlingly original work

É douard Lalo ’s Le Roi d’Ys was first performed in Paris in 1888. A work of often startling originality, it was hugely admired in its day and still hovers on the fringes of the repertory in the French-speaking world. Elsewhere, however, its outings have been sporadic, so Chelsea Opera Group cannot be too highly commended for tackling it in a very fine concert performance conducted by Paul Wingfield.

The opera derives from the Breton legend of the city of Ys that vanished, Atlantis-like, beneath the ocean. The king of the title, however, is not its central protagonist, and Lalo focuses on his two daughters, gracious Rozenn and imperious Margared, both in love with the soldier Mylio, initially believed a casualty of the recent war between Ys and the forces of the enemy prince Karnac. A pawn in her father’s politics, Margared is to marry Karnac as part of their peace treaty. But her refusal to do so on discovering that Mylio is both alive and loves Rozenn, leads first to the resumption of hostilities, then to her conspiring with Karnac to open the floodgates that protect the city from the sea.

The director, whose film JFK has been derided by historians for suggesting the CIA had a role in the killing, will speak to task force aiming ‘to get to the bottom of this mystery’

Film director Oliver Stone will testify at a US House of Representatives hearing on Tuesday that is considering thousands of pages of documents related to the 1963 assassination of John F Kennedy released this month at the direction of President Donald Trump.

Representative Anna Paulina Luna, chair of the Task Force on the Declassification of Federal Secrets, said that lawmakers will hear from witnesses about the value of the documents.