The bestselling author champions female trailblazers in an enjoyable anthology for all ages

Women make up roughly 50% of the population but only feature in about 0.5% of recorded history. In Feminist History for Every Day of the Year, Kate Mosse, the bestselling author of Labyrinth , celebrates can-do women and gives history’s trailblazers their due. Aimed at teenage readers but just as enjoyable for adults, this anthology comprises bite-sized stories of female achievement and the centuries-old fight for equality. As Mosse notes in the introduction, it is about women “who refused to accept the limitations put on them, who campaigned and marched, battled and challenged the status quo to change the world for the better”.

The book features a mixture of famous and lesser-known figures: artists, writers, scientists, academics, sportswomen, educators and politicians. There’s primatologist Dian Fossey; avant garde painter Amrita Sher-Gil; Britain’s first black headteacher Beryl Gilroy; Pakistani activist Malala Yousafzai; Ethiopian politician and humanitarian Senedu Gebru; racehorse trainer Florence Nagle; computer programmers Ada Lovelace and Dorothy Vaughan; and actor and music hall star Josephine Baker, who was also a pilot and agent in the French resistance during the second world war. Not all the assembled achievers are straightforwardly heroic – Marie Stopes may have founded Britain’s first ever birth control clinic in 1921, but she also believed in eugenics.

Available via Pan Macmillan, 10hr 16min

For Black adolescents, a recent study found negative experiences around race in online spaces outweighed the good

People of color have long critiqued social media filters for perpetuating Eurocentric beauty standards. In one TikTok video , a young Black woman who used the app’s glow filter was vexed that her brown eyes transformed to blue. In another video , a user wrote that she liked a face-altering filter until she realized that it generated the appearance of a smaller nose. Now, new research shows that such filters, along with a collection of other race-related online experiences, can negatively affect Black adolescents’ sleep and ability to concentrate on schoolwork the following day.

A new study published in the JAMA Network that looked at Black adolescents’ exposure to online racism – including traumatic videos of police violence, online racial discrimination and racial bias perpetuated by AI – can cause increased anxiety and depression. On average, Black adolescents experienced six race-related online experiences everyday – 3.2 of which were online racism, and 2.8 of which were positive.

The revered BBC strand that gave us Abigail’s Party and The Black Stuff makes a return … on Channel 5. Will it be as successful as in its heyday?

In March 1977, BBC One screened Spend, Spend, Spend, a single drama about a woman whose husband won the pools, a weekly competition to guess football scores. This week, Channel 5 will show Big Winners, a one-off play about the national lottery turning a couple into multimillionaires.

The parallel, intentional or not, is appropriate. Jack Rosenthal’s Spend, Spend, Spend, which won a Bafta, was one of the standout successes of Play for Today, the prime-time drama strand that ran on the BBC’s main channel from 1970 to 1984. Big Winners, written by Martha Watson Allpress, is included in 5’s four-play revival of the Play for Today franchise.

The writer, who was born in a refugee camp in Germany after the war, won the Wodehouse prize for comic writing for her debut A Short History of Tractors in Ukrainian

The British-Ukrainian novelist Marina Lewycka, best known for her comic debut A Short History of Tractors in Ukrainian, has died aged 79 from a degenerative brain condition, her agent has confirmed.

Lewycka’s fiction often drew on her Ukrainian heritage and her family’s experiences as refugees. A Short History of Tractors in Ukrainian, published in 2005 when she was 58, became an unexpected international bestseller and was translated into 35 languages. It won the Bollinger Everyman Wodehouse prize for comic writing, was longlisted for the Man Booker and shortlisted for the Orange prize for fiction.

Longlegs director Osgood Perkins takes us on a dark journey to the woods in a creepy and visually inventive nightmare with a killer lead performance

For the past few years, horror cinema has sometimes felt as fraught with toxic romance as a particularly cursed dating app. From manipulated meet-cutes (Fresh; Companion) to long-term codependence (Together) to the occasional success story (Heart Eyes), it’s clear that romantic relationships are mostly blood-stained hell, and a couple going to a secluded location together is a fresh level of it.

So it’s not surprising when Liz (Tatiana Maslany) starts to feel uneasy on her weekend away with Malcolm (Rossif Sutherland) early on in the new and much-concealed horror movie Keeper. Liz and Malcolm have been together for about a year, which we gather early on has marked the time Liz has bolted from past relationships. Still, she seems optimistic about this one. She thinks she knows Malcolm pretty well, and their early scenes together are neither as dotted with red flags nor as suspiciously idyllic as other recent characters in the doomed-couple genre. Liz has a wary, deadpan sense of humor, and Malcolm has a slightly slurred-together accent as he explains some oddities about his family-owned cabin in the woods (like the fact that he has a creepy cousin who lives nearby). But their awkwardness levels are complementary. They seem comfortable together.

(Polydor)
It’s a difficult second album for the chart-topping singer, in more ways than one – but her sombre songcraft ends up being spectacular

In theory, the making of Celeste’s second album should have been plain sailing. Boosted by a win in the BBC Sound of 2020 poll , and her single A Little Love appearing on the John Lewis Christmas ad the same year, her debut album Not Your Muse entered the charts at No 1, spawned two big hits – Stop This Flame and Strange – and ultimately went gold. That’s the perfect starting place from which to make a second album: success, acclaim and attention, but not on the kind of overwhelming scale that seems ultimately paralysing, where it’s impossible to work out how you can follow it up.

And yet, the making of Woman of Faces has clearly been attended by some difficulty. Celeste has talked openly about butting heads with its producer, Jeff Bhasker, whose hugely impressive CV includes work with Harry Styles, Taylor Swift and Kanye West: she commissioned string arrangements from British composer and conductor Robert Ames, but Bhasker “didn’t let me use [them]”. Last month, she was on Instagram, protesting that her label was showing “very little support of the album I have made” and had threatened to drop her entirely if she “didn’t put two particular songs” on its track list. This accusation caused a certain degree of eyebrow-raising, not least because Celeste is signed to the same label that singer Raye complained about in 2021 , insisting they had refused to allow her to release a debut album: Raye subsequently left the label, released the album herself to vast success and noted that record companies might be better served allowing artists to “always create with a sense of purpose, rather than the means to sell”.

Lots include the annotated shooting script for Die Hard and a hand-drawn Halloween card from his Harry Potter co-star Rupert Grint

Alan Rickman’s obsessive attention to detail is revealed in the copious annotations he made on all his scripts, as a number of film-related items from the late actor’s personal collections are put up for auction including screenplays from Die Hard and Harry Potter.

Propstore, the Los Angeles and London-based auction firm that specialises in entertainment industry memorabilia and recently sold a Star Wars lightsaber for £2.7m, is staging a three-day sale in which a number of lots originating from the Alan Rickman archive will be available.

Remix of old and new material from TV series includes tremendous battle sequences but there’s an awful lot of lore for new viewers to catch up with

Here’s an unusual proposition: a film that opens with a kind of super-edit, cutting together chunks culled from many hours’ worth of plot and spectacle from the Jujutsu Kaisen TV series , which is then followed by some all-new episodes of the TV series; playing together in full as a movie, in the cinema. Is it a movie borrowing bits from a TV show? A TV show dressed up as a movie? Does it matter? It certainly doesn’t, if all you need is spectacular and imaginatively staged battle sequences – though for non-initiates, it’s difficult to see it adding up to much more than that.

One thing that would be very helpful – and is regrettably lacking – is a Star Wars-style scroll plainly laying out the backstory in simple terms for unfamiliar viewers. Sure, the TV show compilation does a bit of that, but it also feels like trying to download a thousand years of lore into your head, while simultaneously having your mind boggled by wild visions of conflict in the underworld. A bit more context for the long-running struggle between good and evil, involving sorcerers and “curses” (which seems to mean something closer to “demon” here), would be of great help to the normies over here.

The actor and comedian was Oscar-nominated for her film debut 40 years ago, then won an Academy Award just five years later. As she turns 70, we rate Goldberg’s greatest hits

Or: Winona, Overshadowed. Predominantly, that is, by Angelina Jolie, whose movie-stealing turn as one of Ryder’s fellow patients at a late-1960s US psychiatric hospital won her an Oscar. Don’t discount Goldberg’s contribution, though. Soothingly understated as Valerie, the chief nurse, she and fellow staff members, played by Vanessa Redgrave and Jeffrey Tambor, provide the emotional grounding over which their younger co-stars (also including Elisabeth Moss and Brittany Murphy) can soar.