Lewisham MC Fekky went from collaborating with Skepta to buying his own farm – without ever having set foot on one. Hood 2 Farm sees him trying to learn the skills, and turning his wild, slapstick journey into hilarious TV

In Hood 2 Farm, a 76-year-old shepherd is explaining his daily routine. “There’s only my wife and I, and when she gets out of bed, I get in, and when I get out of bed, she gets in,” he says. The south London rapper Fekky pauses, before saying: “If you don’t mind me asking, if she’s getting out of bed, you’re getting in bed, when are you … hugging up , man?” The farmer laughs and replies: “It’s not happening, chap!” to Fekky’s clear horror.

This kind of interaction is common on Hood 2 Farm, a unique and genuinely inspired YouTube series about the rapper’s attempt to become the steward of his own farm. Across eight 30-minute episodes, he meets farmers from around the UK and learns basics such as milking cows, shearing sheep and driving tractors.

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Why was Richard Ramirez treated like a celebrity while he was on death row? Plus: Adrian Dunbar is back playing detective. Here’s what to watch this evening

9pm, Sky Crime

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Traverse theatre, Edinburgh
In Hannah Moscovitch’s powerful play, a journalist’s triggered memories of abuse are voiced by a man

This two-hander about consent, abuse and the doubt cast over women’s testimonies is magnetically minimalist. Lauren (Michelle Monteith) tells us that Luke (David Patrick Flemming), who enters the stage beside her, will tell her story. Later, we find out that she is a journalist, and so perfectly capable of telling it herself. Yet the telling is ceded to Luke.

It begins with a newspaper assignment for a case of domestic abuse. She speaks to the survivor, the perpetrator and the company boss who re-employed the latter despite his assault. The experience sends Lauren to her own past – traumatic memories of being sexually violated and raped by a family member. Cleverly directed by Christian Barry, there is tension and horror. You lean in and listen. Lauren looks on as her story is narrated by Luke, her face registering the shocks.

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Summerhall, Edinburgh
Thomas jumps adeptly from terrorist to drug lord in writer Ed Edwards’s gripping and subtle one-man show

There is an alarming sense of cogs being wound in this prison drama by Ed Edwards. It is set in a fancy new Manchester nick where conditions are uncommonly good: a 25-day riot in the notoriously crowded Strangeways has fast-tracked the introduction of a softly-softly regime. There is one man to a cell, so tensions should be minimised, and only troublemakers are subject to frequent searches. Yet every time Edwards introduces a new inmate, he takes us one step closer to catastrophe.

It is like a laboratory experiment in which a mad scientist adds unstable chemicals to a test tube and turns on the Bunsen burner. The steadiest element is Frankie Donnelly, a recovering addict who is in for three-and-a-half years for importing drugs disguised as bars of chocolate. On his side is an even temper, a typewriter and a history of political activism; beyond that, he is at the mercy of his fellow inmates.

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Twenty-five years after his award-winning book was published, the Australian author revisits True History of the Kelly Gang

How very weird to return to this old manuscript, the scene of so much doubt and anguish, not to say obsession.

I was a baby when the seed was planted, three years out of school, two years since my devastating failure in the first year of a science degree. I had drifted into advertising where the gods determined I would fall among novelists and playwrights who would lead me to a place I could never have imagined.

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I cant help it if Im young still can I its a wonder Im not an old shrivelled hag before my time living with him so cold never embracing me except sometimes when hes asleep the wrong end of me not knowing I suppose who he has any man thatd kiss a womans bottom.

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Summerhall, Edinburgh
Beth Paterson leads us through her discovery that the grandmother who berated her as a child was a Holocaust survivor

This story, told by Beth Paterson, is about her “nanna Niusia … and I remember her as a bitch”. It is quite the statement about her 86-year-old grandmother whom she was taken to visit as a teenager, when all she wanted to do was go to the movies. To Paterson, Niusia was an old curmudgeon full of complaints and cruelties.

But she proceeds to take us on the journey that she went on after Niusia’s death, when she became curious about who her Polish immigrant grandmother had been before settling in Melbourne.

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Pleasance Courtyard, Edinburgh
The character comic returns with another daft set of surreal characters and sharp one-liners – this time stuck in an open-all-hours cafe

When Lorna Rose Treen won the best joke of the fringe award two years ago with a cheetah/cheater pun, it “killed comedy” according to the Sun newspaper. (They may see the recent cancellation of that prize as proving their point.) The character comic quotes that unlikely coverage at the start of her new set, a (marginally) more theatrical offering with which she promises to kill off theatre as well. In a show full of one-liners to rival her 2023 prizewinner, the choicest joke may be the idea that this mild-mannered, delightfully silly act poses any kind of mortal threat whatsoever.

Just as her acclaimed debut Skin Pigeon showcased an array of unapologetically weird female characters, so too does 24 Hour Diner People – with the twist that, this time, they’re all to be found in the same, titular location. The first is a waitress given to eating her tips. Just as Skin Pigeon featured a cowboy with guns for hands, we now meet a trucker with impossibly long arms. One recurring sketch airs the libidinous if immature fantasies of a teenage girl as prom approaches. Another, co-starring a press-ganged audience member, introduces us to a wannabe Bonnie and Clyde plotting a heist of the diner’s takings.

At Pleasance Courtyard, Edinburgh , until 24 August

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Locarno film festival
Blue Is the Warmest Colour director Abdellatif Kechiche’s latest erotic melodrama delivers another heady dose of flirting, farce and bafflement

So here it is – the third but, incredibly, perhaps not the final episode in the most bizarre arthouse franchise in film history, and which, for its sheer melodramatic ker-aziness it commands attention. So, as it were, previously on Mektoub My Love …

The first film in the series from Tunisian-French director Abdellatif Kechiche, who had won the Cannes Palme d’Or for Blue Is the Warmest Colour (for which he was famously required to share the award with his two acting leads Adèle Exarchopoulos and Léa Seydoux), arrived in 2017. This first MML (called Mektoub My Love: Canto Uno) turned out to be an epic erotic summer romance set in the early 90s about a guy called Amin (Shaïn Boumedine) who comes back from Paris to his hometown of Sète, having abandoned his medical studies to follow his dream of being a screenwriter, and finds himself immersed in his friends’ intrigues; Ophélie (Ophélie Bau) is engaged to a guy away doing military service, but having an affair with Amin’s cousin Tony (Salim Kechiouche).

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Deal will broaden UK rightwing channel’s global reach as White House continues to attack mainstream media

The Trump family media company has partnered with GB News to broadcast the British news channel on its US streaming platform, Truth+.

Trump Media and Technology Group (TMTG), which operates the social media app Truth Social, the streaming platform Truth+, and the FinTech brand Truth.Fi, announced on Friday it will add GB News to its list of available channels, making it accessible to most countries globally, including the US.

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