After her announcement of her transition, the actor said: ‘I loved and supported Aaron as my son, and now I love and support Airyn as my daughter’

Robert De Niro has expressed support for his daughter Airyn after she came out as transgender.

In a statement to Deadline , De Niro said: “I loved and supported Aaron as my son, and now I love and support Airyn as my daughter. I don’t know what the big deal is … I love all my children.”

Director Nisha Ganatra said she felt they ‘owed audiences to make it right’ in the new film

The director and leading cast member of Freakier Friday, the soon-to-be-released sequel to Disney’s 2003 body-swap comedy Freaky Friday, have criticised the “hurtful” Asian stereotypes of the older film and said they “owed audiences to make it right”.

Speaking to Entertainment Weekly, director Nisha Ganatra, a Canadian whose parents were first generation immigrants from India , said of the 2003 film: “I remember watching it and feeling torn, mostly about the Asian representation … It was something I brought up right away when I had my first meetings with the producers. I had a moment of the presentation that was like, ‘problematic Asian representation!’”

Tron theatre, Glasgow
A quick-witted trio star in three plays, in roles ranging from an Ulster unionist Homer Simpson to a pandemic prophet

If you were the gambling kind, you would have hedged your bets on A Play, a Pie and a Pint . What chance of survival would a lunchtime theatre have, especially one committed to staging 30 new plays a year, not to mention throwing in food and drink for the price of a ticket? But survive it has. On the go since 2004, the company has become a Glasgow West End institution.

You can see why Jemima Levick, its former artistic director, thought it worth bringing some of its hits with her now she has taken over at the Tron. Studio3 is a three-play compendium, each seen individually or as an all-day marathon, given handsome new productions that star a quick-witted trio of actors: Jo Freer, Dani Heron and Kevin Lennon.

At the Tron theatre, Glasgow , until 16 May

From a very-not-safe-for-work cartoon to a drag queen fever dream and a puppet show that’s like Horrible Histories for grownups – networks wouldn’t dare air these online hits

Hazbin Hotel and Helluva Boss, made by the same team, are as funny as anything on mainstream TV. Despite being animated, Hazbin Hotel is very much a show for adults, with both the comedy and plot lines often very not-safe-for-work. It has queer-friendly, gut-busting laughs, with surprisingly moving storylines and songs Lin Manuel-Miranda would be jealous of. The great strength of this being a YouTube show is that it would be extremely hard to pitch to a network. As they control their own content, creators can push the humour and actually build story around compelling (but risque) issues around sex, gender and identity. The show is essentially set in a version of hell. Hazbin Hotel focuses on the daughter of Satan trying to run a hotel for demons with the aim of rehabilitating them so they can get to heaven. It’s extremely irreverent, silly and subtle – a rousing story of someone coming into their own. Will Green, 35, London

The late cinematographer Halyna Hutchins, who died on set, shows herself to be the saving grace of an otherwise poorly acted and overly long mess

Let’s put this upfront: the cinematography by the late Halyna Hutchins is gorgeous. Hutchins died in a horrific accident on the set of the movie Rust , when a prop gun, improperly checked before it was given to star and producer Alec Baldwin , shot a real bullet – prompting the reasonable question of whether the movie itself should ever be finished and see the light of day. Regardless of the moral quandary, the movie is here, primarily showcasing how good Hutchins was at her job. The first few minutes of Rust quickly accumulates half a dozen gorgeous images in establishing shots, and remains great-looking throughout – visually worthy, at least, of moments that imitate famous shots from classics of the genre like The Searchers and the True Grit remake. (If Hutchins worked on about half of the movie, it seems to have been finished following her visual lead.)

It’s not unusual for a contemporary-made western to work primarily in dusty browns, beiges and blacks in depicting the past (in this case, the Wyoming of 1882), but this movie’s dark tones have impressive richness; much of the imagery looks as if it’s been painted in deep-black shadows. It’s not just silhouettes on magic-hour landscapes that show off Hutchins’ obvious talent, either; in an early prison-break scene, a rescuer emerges from darkness, and the camera slowly pans over to the dead body of a lawman, as if in fearful apprehension.

After a grounding with genre greats, he fused jazz with rock to outrageously funky effect. Ahead of UK dates, he explains why two prosthetic hips aren’t slowing him down

Billy Cobham speaks the way he plays drums. Words pour out of him in a great, rhythmic rush, every sentence alive with energy and ideas – and so interviewing him can be as overwhelming as his music sounds. I ask about a recent sojourn to his birth nation of Panama and he’s still answering 15 minutes later, although the topic now is a huge 1973 concert at Yankee Stadium in New York where he played alongside salsa legends Fania All-Stars to 40,000 fans: “All the nations had their flags – and all the gangs were there too!” Cobham describes watching in awe as the greatest congueros alive all played in unison before the frenzied crowd invaded the stage. It’s fascinating, though I begin to fear our allotted time will be taken up by this single sprawling anecdote. “Don’t get me started,” he says, and laughs, kicking back in his book-lined office in Berne, Switzerland.

William Cobham Jr is one of history’s greatest drummers, who, alongside Miles Davis and John McLaughlin helped fuse jazz with rock and funk (he co-founded Mahavishnu Orchestra with the latter). Cobham became an influence on everything from Prince to prog, and has also backed icons across a huge spectrum of music – jazz greats such as Miles Davis and Sonny Rollins but also James Brown, Roberta Flack, Peter Gabriel and more. At 80, he’s just been given a lifetime achievement award at the Jazz FM awards but is still a dynamic, muscular bandleader, with UK gigs coming up at Cheltenham jazz festival and Ronnie Scott’s. “The first time I came to Great Britain was in 1968 with Horace Silver,” he says, “and you know where we played? Ronnie Scott’s!”

Revival of the ‘profoundly moving’ Irish pub drama will open at the Olympia theatre in Dublin before arriving in London this autumn

Brendan Gleeson will make his West End debut this autumn in a revival of The Weir, directed for the first time by its playwright Conor McPherson.

Gleeson, whose films include The Banshees of Inisherin and Paddington 2, described McPherson’s play as “profoundly moving, inspiring and ultimately hopeful”. He will play one of the four men sharing stories in a remote Irish pub with a woman who has newly arrived in the area.

Statement says MPs have no part to play in deciding if trio should play Glastonbury, amid controversy over some of their messages

Dozens of artists, including Pulp, Paul Weller and Primal Scream, have defended Kneecap, saying politicians should have no place in deciding who can or cannot play musical festivals.

The Irish language rap trio have received heavy criticism from across the Commons benches over claims they called for MPs to be killed. Ministers have put pressure on the organisers of the Glastonbury festival over the group’s inclusion, while a gig at the Eden Project has been cancelled.

Ever since Raphael included Leonardo and Michelangelo in a crowd scene of one of his works, painters have had a fascination with depicting their peers, as a new exhibition reveals

As with all genres of art, portraiture has its own set of subgenres. Aside from the standard configuration of artist and model, there is the double portrait, the group portrait, the self-portrait and so on. But one other strand habitually draws freely on all the others to create its own unique sub-subgenre: when artists are the subject of another artist’s work.

Artists painting other artists has a long and distinguished tradition: see Raphael including Leonardo and Michelangelo – and a self-portrait – in his Renaissance crowd scene masterpiece The School of Athens. This unique dynamic has remained a source of fascination for both artists and viewers ever since.