(Warp)
The Detroit rapper feared his music would get dull after he went sober, but no-one could be bored by this guest-stuffed, chaotically swaggering new album

When Danny Brown spoke to the Guardian in 2023 , he was promoting the near simultaneous release of two albums, his own Quaranta and Scaring the Hoes , a collaboration with Jpegmafia that commenced with perhaps the year’s most diverting opening lyric: “First – fuck off, Elon Musk.” Both albums had been recorded in what sounded like desperate circumstances.

Brown had long played on his image as a drug-guzzling maniac, too crazed to be contained by any of hip-hop’s standard generic boundaries: posing for photographs with his hair wildly backcombed, his missing teeth on full display, his tongue out and his fingers in devil’s horns, telling interviewers “I’m just waiting to die – everything after this point is, like, whatever”; referring to his songs as “trauma dumps” and calling them things like Adderall Admiral, White Lines, Dope Fiend Rental, Need Another Drink and Die Like a Rockstar. By the time he made Quaranta and Scaring the Hoes, however, he was in serious trouble: “blackout drunk” when recording the former, “in pain all the time, throwing up and shit” during the making of the latter. By the time of the interview, he’d been to rehab and got sober: ostensibly a happy ending, but Brown struck a note of caution. “I’ve seen so many artists get sober,” he said. “And their music sucks .”

Report says Paris museum prioritised ‘visible and attractive’ projects over security in run-up to robbery

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The spectacular theft of an estimated €88m (£77m) of crown jewels from the Louvre last month was “a deafening wake-up call” for the “wholly inadequate pace” of security upgrades at the Paris museum, the head of France’s state auditor has said.

Presenting the report, which was completed before the dramatic heist at the world’s most-visited museum, Pierre Moscovici said the Louvre had sufficient funds for the improvements and “must now implement them without fail”.

The final episode of the BBC’s star-based reality hit is uploaded by a Canadian TV network in its entirety before airing in the UK

The finale of BBC smash hit reality TV series The Celebrity Traitors has been released online over 24 hours ahead of its UK air time. Viewers in Canada reported being able to view the episode in its entirety, before it was pulled.

People online were claiming that television network Crave Canada uploaded the final prior to its UK launch. One user posted a screen grab of an episode with a run time of an hour and eight minutes, showing the remaining five contestants in camo-toned gilets being addressed by host Claudia Winkleman. It bore the description: “with the prize fund complete, will the pressure of winning cloud anyone’s vision?”

Genteel manners of first world war story about repressed passion delivered with surprising sexual candour

Alan Bennett’s new film, directed by Nicholas Hytner, is a quiet and consistent pleasure: an unsentimental but deeply felt drama which subcontracts actual passion to the music of Elgar and leaves us with a heartbeat of wit, poignancy and common sense. Music itself mysteriously exalts and redeems the community, and I mean it as the highest possible praise when I say that The Choral reminds me of Victoria Wood’s musical That Day We Sang , about the recording of Purcell’s Nymphs and Shepherds by Manchester Children’s Choir .

The film is about men in a fictional Yorkshire town during the first world war who are variously too old or too young to fight, and the women who have to deal with the menfolk’s repressed emotions and their own. The place is upended by the arrival of Dr Guthrie (Ralph Fiennes) who is to be the choirmaster, directing the music society’s annual production; he scandalises some with the fact that he once lived in Germany and has a scholar’s love of that country’s literature and music – as well as the fact that he is a bachelor who had a close friendship with another young man now serving overseas.

Crammed with cameos, this recreation of Springfield in Fortnite’s evolving virtual playground is a delight for long-time fans of the show. Shame it’s not here for long

After years of collaborations with Disney on Marvel and Star Wars, it’s finally happened: The Simpsons have arrived in Fortnite. Whereas most of these crossovers comprise themed skins and emotes, this is a complete takeover, with an entire stylised map based on Springfield to explore. It’s a smart way of introducing American TV’s longest-running sitcom to a younger audience – especially with news of a second movie on the way – but for millennials, this is the culmination of a year-long campaign to catch our attention, if previous collabs with Power Rangers, Scream and Mortal Kombat are anything to go by.

Though this could have been a quick ploy for those who grew up on a diet of afterschool BBC Two repeats to open their wallets, it’s no lazy cash-in. The familiar sights of Springfield you’d expect are here: there’s the Simpsons home on Evergreen Terrace, the sloping lawns of Burns Manor, and a town square with Moe’s Tavern and a statue of Jebediah Springfield, detachable head and all. Towards the edge of the map is the nuclear power plant, pumping cartoon steam into the sky, featuring meltdowns that you can avert by tapping a control console to the tune of “eeny, meeny, miny, moe”. Cletus’s farm and a Slurp factory (the game’s spin on Duff – no beer on tap here) sit on the corners of the island, and every match starts with a charming recreation of the show’s intro, complete with parting clouds, title card and iconic theme song, before you thank Otto as you leave the battle bus and descend on to the map.

Ryan Murphy’s glossy, star-packed new show has received some of the most shocking reviews we’ve seen for a long time, including many zero star takes

If you get a secret thrill from reading bad reviews, this week has basically been your Christmas. This is when the embargo dropped for Ryan Murphy’s new Kim Kardashian -starring Hulu legal drama All’s Fair, and hoo boy. Lucy Mangan’s zero-star extravaganza was a classic of the form, starting with the line “I did not know it was still possible to make television this bad,” and then only getting more despairing from there.

But then something incredible happened. More All’s Fair reviews started popping up, and they were just as scathing. Every last one of them, without exception, absolutely hated it. In his zero-star review, The Times’s Ben Dowell observed that the show felt like it had been written “by a toddler who couldn’t write ‘bum’ on a wall.” USA Today’s Kelly Lawler wrote : “It’s so stilted, artificial and awkward not even a glass of wine and leftover Halloween candy can make it remotely enjoyable to view.” The Wrap said : “One wonders if Murphy is engaged in some sort of social experiment to see if he can get away with making the most transparently terrible show on Disney’s dime.” In his one-star review (comparatively a rave), The Telegraph’s Ed Power called the show a “disaster zone of soapy plotting and reeking dialogue”.

Project in southern Nigeria to honour the city’s centuries-old artistic traditions and bring a new audience to contemporary art

For weeks, residents of Iyekogba in Benin City have seen a 15-metre-high tower rising up in the middle of their quiet, residential neighbourhood. On 8 November, the building, a domed bamboo pavilion, will finally be unveiled at the start of Nigeria’s inaugural Black Muse art festival .

Designed by the renowned Nigerian architect James Inedu-George, the pavilion is the centrepiece of the Black Muse sculpture park, a 3,500 sq metre landscaped site created to honour the city’s centuries-old artistic tradition and bring a new audience to contemporary art.

A logger clears a path for change in this sunset-hour-tastic adaptation by Clint Bentley – clearly a director of considerable power and feeling

The dreams of the title are premonitions of the future, memories of the past, yearnings for an alternative present – and sometimes just the dreams that disturb the sleep of the film’s lead character, a logger named Robert Grainier, richly and expressively played with few words by Joel Edgerton. He is part of an exploited itinerant labour force in the early 20th century who cleared woodland wildernesses, built bridges and made way for the American railroad. He lives a quasi-hobo existence but is possessed of a passionate, unspoken inner life to which this fine movie gives expression. His emotional life is the tree that falls in the forest without making a sound.

Greg Kwedar has adapted the 2011 novella by Denis Johnson ; the director is Clint Bentley, and they have created a lovely looking, deeply felt film, clearly absorbing the influences of Terrence Malick in some of the low camera positions, sunset-hour compositions, narrative voiceovers, and epiphanically revealed glories of the American landscape. There is also something of the early work of David Gordon Green, a film-maker once considered an heir to Malick .

The Succession actor is utterly brilliant in every moment of this punchy historical miniseries. His portrayal of the crank who killed the US president in 1881 takes his mastery to the next level

“My name,” says Charles Guiteau ( Matthew Macfadyen ), the anti-hero of punchy four-part historical miniseries Death by Lightning, “will be known one day all across this country!” Guiteau was, until now, wrong. He tried to insert himself into history by assassinating the US president, James Garfield, in 1881 – but Garfield was only four months into his tenure, so all Guiteau did by shooting him was turn them both into difficult pub quiz answers.

Death by Lightning pays careful tribute to Garfield, a quietly extraordinary statesman, but its focus is Guiteau and, if this show is a hit, he might finally get his wish. If so, it’ll be because Charles Guiteau has become a byword for the sort of pitiable crank that Matthew Macfadyen plays better than anyone else on television.