Lee Mack’s excellent family sitcom explores empty nest syndrome. Plus: Alison Hammond bonds delightfully with Lenny Henry and Sam Thompson’s on a mission. Here’s what to watch tonight

9pm, BBC One
Lee Mack’s broad family sitcom switches things up for its 14th series by jumping a few years forward. The kids are grownup and gone, which means that Lee (Mack) and Lucy (Sally Bretton) are empty nesters and looking to downsize. When they view their “for ever home” it, of course, turns into a farce of a broken toilet, koi carp and the couple pretending to be brother and sister. The laughs may be light, but they are consistent. Hollie Richardson

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Work by Elizabeth Peyton from 1996 shows ‘quiet tension’ between Noel and Liam at their Oasis peak, expert says

“Where you gonna swim with the riches that you found?” Oasis asked in All Around the World . Maybe in the art market, buying a portrait of Noel and Liam Gallagher at the height of their fame for a possible £2m.

Sotheby’s has announced that a 1996 painting of the brothers by Elizabeth Peyton is to be part of its June contemporary art auction in London.

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Ahead of her new film – in which she fights, dives and wrangles horses – the Oscar-winning actor discusses sunburn, age-gaps and hanging from helicopters

Julianne Moore has played some right mothers in her time. There was Amber Waves in Boogie Nights, whose pornography career and cocaine addiction costs her access to her child. Or Maude, the outre artist – “My work has been commended as being strongly vaginal ” – whose determination to conceive drives much of in The Big Lebowski . Moore was the infernal, domineering mother – the Piper Laurie role – in the 2013 remake of Carrie, and a lesbian cheating on her partner with the sperm donor who fathered their children in The Kids Are All Right . In May December , the most recent of the five pictures she has made with her artistic soulmate, the director Todd Haynes, she became pregnant by a 13-year-old boy, then married and raised a family with him after her release from prison. Shocking, perhaps, but then she had already played a socialite with incestuous designs on her own son (Eddie Redmayne) in Savage Grace . Imagine that lot as a Mother’s Day box set.

Her latest screen mum is in the jangling new thriller Echo Valley. She has a lot of heavy lifting to do as Kate, a morally compromised rancher whose farm is falling apart, along with her life. Some of that lifting is emotional: Kate left her husband for a woman (“I’m the one who ‘ran off with the lesbo ranch hand’,” she sighs) who then died. To add to her woes, Kate’s daughter ( Sydney Sweeney ), who has addiction problems, calls on her for help after accidentally throwing away $10,000 worth of drugs belonging to a dealer (Domhnall Gleeson).

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It’s made me feel it’s OK to be an artist with a social purpose, though my wife hates the beard

I have spent the first three months of the past six years trying to become the 19th-century designer and activist William Morris . I grow my hair and beard to look like him, while immersing myself in his work.

On 24 March – his birthday – I dress as Morris and finish the quarter with some kind of absurd performance to highlight pressing social issues that he was concerned about, and that I want more people to focus on today.

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(Polydor)
The three LA sisters dwell on the bitter end of a relationship in tracks that range from replayable valley-girl rap to plodding country-pop

Haim’s 2013 breakthrough single The Wire was a swaggering, high-spirited breakup anthem. The slick, twanging pop-rock was correctly identified at the time by Portishead’s Geoff Barrow as echoing the oeuvre of Shania Twain (though this wasn’t the sick burn he thought it was), over which the LA trio copped to commitment phobia, communication issues and having their heads turned, before skipping into the California sunset with their hearts intact. Well, to commandeer the title of Haim’s debut album: those days are very much gone.

I Quit, the sisters’ fourth album, still has plenty of breakup songs, but these are no cheerful odes to dumping dudes in your 20s. Instead, the record fixates on the bitter end of a deeply flawed long-term relationship; at least some of these songs are informed by the love lost between lead vocalist Danielle Haim and Ariel Rechtshaid, the garlanded producer who worked on all three of the band’s previous albums (I Quit is instead helmed by Danielle, Rostam Batmanglij and Buddy Ross). The mood is not desolate – the narrator instigated the split – but it is searching and pained. The ex is portrayed as careless and manipulative, and punches are not pulled (“I swear you wouldn’t care if I was covered in blood lying dead on the street”). There are many references to setting oneself free, reflected in the – perhaps too on-the-nose – sample of George Michael’s Freedom! ‘90, which is woven through the opening track, Gone.

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The actor claims she was made to work 15-hour days without proper support and suffered a severe knee injury as a result of a scene where she was thrown into a wall

Kate Beckinsale is suing the producers of Canary Black, the 2024 action thriller in which she starred, over claims she suffered “severe and debilitating injuries” as a result of “unsafe conditions”.

In news first reported by Puck , Beckinsale’s legal complaint was filed anonymously in June 2024, but has now been refiled under her full name Kathrin Beckinsale.

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From coming-out fables and dancefloor make-outs to unsimulated sex and a madcap maternal quest, here is a feast of movies about LBGTQ+ lives

One detractor called it “a Shawshank Redemption for progressive millennials”. But the force of Céline Sciamma’s lesbian love story about an artist and her unwitting sitter on a remote island in 18th-century Brittany is undeniable. As is the integrity of its central dynamic, stripped of power imbalances, hierarchies – and men.

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We would like to hear about the best new game you have played this year so far and why

The Guardian’s writers have compiled their favourite new games of the year so far – and we’d like to hear about yours, too.

Have you come across a new release that you can’t stop playing? Or one you’d recommend? Tell us your nomination and why you like it below.

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When a star dies, shows are left in a terrible quandary – carry on, use ham-fisted CGI or axe the thing entirely. As Payne appears in Building the Band, we delve into the unnerving world of posthumous television

At first glance, Netflix’s new series Building the Band comes off as a weird amalgam of every singing competition show you loved a decade and a half ago. There’s the core DNA of X Factor. The singers perform out of sight of everyone else, so it cribs from The Voice . Clearly, there’s heavy borrowing from Making the Band. Plus, this is Netflix, so everything looks a bit like Squid Game.

But this odd mishmash of a format isn’t what will keep you away from Building the Band. No, what will keep you away from Building the Band is the posthumous appearance of Liam Payne .

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