The Downton Abbey creator's calling cards litter this series finale which, for all its frantic plot developments, can't help feeling worn out

There's a lot to love about the fantastical and immaculately choreographed violence, but Sky's buzzy crime thriller otherwise tends to wallow in giggle-inducing melodrama

'SNL at Home' returns with a higher production value – and proves once again that it's possible to be funny even without an audience

Daisy Edgar-Jones and Paul Mescal inhabit lovers Marianne and Connell so utterly that it is instantly impossible to imagine them being played by anyone else

This series is constantly looking for easy solutions – whether it's not bothering to film 'village' scenes outside of London or using swearing where good jokes ought to be

The Dutch capital is captured here in all its tawdry beauty, but plot contrivances and a distracting lead make this Seventies re-hash a hard sell

From bearded capuchins to yellow baboons, the furry creatures in BBC1's new nature series are a reminder we have a lot in common with our closest animal relatives

Show stars Warren as the eponymous detective solving crime on the streets of Amsterdam

This brand new laugh-out-loud police series stars Stephen Graham and Daniel Mays

Reunited for a good cause, if separated by the coronavirus lockdown, the Parks & Rec cast provided easy, nostalgic laughs

In his latest series, Ryan Murphy turns his attention to the post-war 'golden age' of Tinseltown, where a glossy facade concealed racism, sexism and homophobia

What was probably intended as a relaxing Sunday-night nostalgia-fest has become something else entirely during lockdown

The actors were directed over Zoom for the ambitious four-part ITV series – and judging by the inaugural episode, the results are laudable

This series' great beauty is that it's about relationships in all their unpredictability – perfect for locked-down viewers who are seeking out human interaction vicariously

Ninety minutes in the company of the former first lady is like an inspirational infomercial, says Annie Lord

Director's new series stars Andre Holland as a once-famous American jazz pianist who has been unable to play since his son died

(Matador)
The indie maverick is a purveyor of all styles on his studiously eclectic 12th album

There’s a strange psychological cross-pollination going on behind the mask that Will Toledo, the artist mostly known as Car Seat Headrest, sports on the cover of his 12th album. Indulging an alter ego called Trait, Making a Door Less Open seeks out deliberately eclectic hybrids of his wry, lo-fi indie rock style (heir to the likes of Beck, Lou Barlow and Eels) and the satirical EDM he and his drummer Andrew Katz make as 1 Trait Danger. The result is much better than anyone who’s heard the latter, who often veer perilously close to a Bloodhound Gang remix project, might expect: Can’t Cool Me Down has a sultry 80s electropop feel, while the roil of self-deprecation and naked emotion on There Must Be More Than Blood underlines Toledo’s debt to LCD Soundsystem.

The new styles don’t all gel. The sleazy, fuzzy synth-rocker Hollywood is pleasingly punchy, but brought down by facile lyrics (apparently Tinsel Town isn’t the dreamland it’s cracked up to be – who knew?). Two sister songs – the lumpen alt-rock Deadlines (Hostile) and the Hot Chip-with-extra-dour Deadlines (Thoughtful) – fail to charm, while What’s With You Lately is a wan, mopey strum that seems to have wandered in from an entirely different, very bad record. But on the likes of the pulsing, uplifting Famous and Life Worth Missing, Toledo finds new energy.

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(Clover Music)
With this long-awaited fourth album, the former teen idol has finally arrived as the kind of artist she was always meant to be

‘Look at me now” is a fitting opening line for Good to Know, the fourth studio album from R&B singer JoJo. The artist has been on a storied journey through the music industry and the public eye: first emerging as the 13-year-old singer of Leave (Get Out), she then spent years mired in legal disputes with her label that prevented her releasing music. After reigniting her passionate fanbase with a string of independent, darker-sounding mixtapes (and one viral Drake cover), she released Mad Love, her long-delayed third album, in 2016. But Good to Know, released on her own imprint Clover Music, with its themes of independence and self-knowledge, carries with it a sense that she has finally arrived as the kind of artist she was always meant to be.

(Pias)
Since his last outing, the south London musician and producer has eased up and moved to Margate. Yet this atmospheric return still carries the weight of the world

Ghostpoet – the brooding alias of south London-born Obaro Ejimiwe – is roughly a decade old this year. This dour bard has long been an artist ahead of his time. A track such as Cash and Carry Me Home, one of the highlights of his eclectic, jazz-inflected debut album – 2011’s Peanut Butter Blue and Melancholy Jam – defied genre as it mourned the self-inflicted pain of one drink too many. It now locates Ghostpoet as roughly adjacent to the south London jazz renaissance of the past few years – a multi-hyphenate scene in which most things go. Were it to be released today, its languorous, self-aware aperçus would find an even more receptive audience.

(Matador)
Will Toledo’s alt-rockers have emerged out of lo-fi fuzz, but seem unsure of where to turn as they drift toward the mainstream

Anyone wondering how things have changed in the world of lauded US alt-rockers Car Seat Headrest might consider the four years that separate Making a Door Less Open from their last album of new material. Ordinarily there would be nothing unusual about that gap – but in the first four years of Car Seat Headrest’s existence, its mastermind, Will Toledo, released seven albums (one of them a two-hour double), four EPs (one of them as long as an album) and two compilations of outtakes. That’s more than 150 songs and 12 hours of music: a lo-fi spewing forth of ideas that won Toledo a cult following, which then grew exponentially, both in size and rabidity, when he recruited a band and signed to the august US indie label Matador.

OVO
There are flashes of skill and rawness in this odds-and-ends mixtape but it feels like a clumsy lunge at commercial success

In a world where the boundary between mixtapes and albums is becoming ever more blurred, the title of Drake’s latest album highlights its interstitial nature. That said, it’s still slightly misleading. There are tracks here that sound like demos – the mopey James Blake-isms of Chicago Freestyle are audibly unpolished – but for the most part, it ’s a way of collecting up leftovers and leaks, spare tracks he apparently has lying around the studio.

Those inclined to view Drake’s career with a cool eye might be surprised he has any spare tracks lying around the studio, given the state of his last album. Listening to Scorpion, 25 songs long, required a certain degree of mental stamina: you needed to steel yourself against the panicky sensation that you might die of old age before it ended. But it wasn’t the sheer quantity that was the problem so much as the quality of what was there. Scorpion had its moments but was so hopelessly uneven that it was easy to buy into the theory that its length was not due to its author’s teeming multiplicity of fantastic ideas, but an attempt to game the streaming services: more songs means more streams, more streams means a higher chart placing.

(Family Hour/Thirty Tigers)
Sean and Sara Watkins are back and in reflective mood

California’s Sean and Sara Watkins are akin to royalty in American folk circles, firstly as founding members of the hugely successful Nickel Creek, and secondly as hosts of an 18-year residency at LA’s Largo club, where they perform alongside invited guests. Brother Sister draws on both strands of their history. Like its self-titled 2015 predecessor, the album sets aside the pizzazz of Nickel Creek for a down-home approach, but instead of boisterous, star-studded cover versions come five original songs and a minimal musical palette.

Alternating on lead, the pair’s vocals remain a model of sibling harmony, while the interplay between Sean’s intricate guitar picking and Sara’s elegant fiddle is similarly impressive – the breakneck bluegrass instrumental Bella and Ivan is a case in point. Mostly, however, the mood is reflective. Lafayette and Miles of Desert Sand chronicle the search for a better life, and Fake Badge, Real Gun is an artful snipe at Trump – “Throw your tantrums but the truth will be waiting”. Warren Zevon’s forlorn Accidentally Like a Martyr fits in neatly, while Charley Jordan’s ribald Keep It Clean is a gleeful example of a Largo session.

(Orchid Classics)
Natalya Romaniw (soprano), Lada Valešová (piano)
The on-the-rise soprano excels in this deeply personal Russian-Czech recital

Born in Swansea of Ukrainian descent, the outstanding young soprano Natalya Romaniw was singing – stunningly – the title role of Puccini’s Madam Butterfly at English National Opera when Covid-19 restrictions forced the abrupt termination of the run. She should also have performed the title role of Dvořák’s water nymph, Rusalka, at Garsington Opera this summer, where she made an impact in Tchaikovsky’s Eugene Onegin in 2016 and Smetana’s The Bartered Bride last summer. Disappointing for her at this turning point of her career, and for her growing number of fans.

Romaniw’s new album, Arion: Voyage of a Slavic Soul – dedicated to the memory of her Ukrainian grandfather, “my great musical inspiration”, explores repertoire by the Russians Tchaikovsky, Rimsky-Korsakov and Rachmaninov, and the Czechs Dvořák, Janáček and Novák. The pianist Lada Valešová captures the varied colours of the piano writing expertly, an equal and supportive partner. These 28 songs, especially the folk-rich examples by Janáček and Novák, suit Romaniw’s generous, big-toned voice, its timbre flecked and speckled with character and emotion. The eight songs by Dvořák grouped as Love Songs, Op 83, melancholy and lyrical, make us even more impatient to hear her Rusalka when the time comes.

Shriver’s contentious views on diversity thread through the story of a couple’s strained relationship with exercise

Lionel Shriver’s scabrously funny 15th novel presents a dyspeptic view of people in thrall to exercise. In 2013 Shriver’s own daily regime involved “130 press-ups, 200 side crunches, 500 sit-ups and 3,000 star jumps … The jumps take 32½ minutes, or three every two seconds”. The Motion Of The Body Through Space was written, she recently revealed, after she realised that she may be more dedicated to her exercise than to her writing.

The protagonist, Serenata Terpsichore (“rhymes with chicory”), is a 60-year-old woman from upstate New York with a beguiling voice and ruined knees. The former she puts to lucrative use as a voiceover artist and narrator of audiobooks. The latter are the result of a lifetime’s adherence to the doctrine of working out; in particular the belief that 10-mile runs are the key to longevity and good health.

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Fairfield Halls, London
In his show Taxi Tour, the comic from last year’s Britain’s Got Talent offers only standard-issue middle-aged standup

Kojo Anim was a star of the black standup circuit for years, but “Britain’s Got Talent changed my life,” he tells his Croydon crowd. The Londoner has booked his Taxi Tour off the back of an appearance in last year’s final, and recounts how that brush with fame – and his Christian faith, and new fatherhood – picked him back up after a grim period in his life. The emotional honesty is refreshing, but plays only a cameo role in an otherwise unadventurous show. Anim certainly does have talent, but – on this evidence – it’s for performing, not for writing distinctive material.

The show opens with a justification for appearing on BGT, and an account of his experience of overnight celebrity. But it soon devolves into standard issue middle-aged standup comparing his unglamorous childhood with that of today’s pampered youth. His parents play their expected role, giving their son broad accents to mimic when not walloping him for the slightest impertinence. “Only an African parent,” reports our host ruefully, “will beat their own child when they see another child doing something.”

BBC One’s star-filled charity appeal needed imagination and technical skill to get round distancing rules

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Socially distanced presenters, a skeleton crew, no live audience and automated phonelines only – this is national telethonning, lockdown-style. Comic Relief and Children in Need have joined forces to create The Big Night In on BBC One and raise money for the charities and projects who need more support than ever as Covid-19 strains resources everywhere.

First shift is taken, as is traditional, by Lenny Henry and Davina McCall – joined, not too closely of course, by Matt Baker this time – whose recreation of normality for the viewer in what must, in the studio, be an absolutely bizarre set-up is unimpeachable proof of their professional talents.

Football fans will finally have some live action to watch on Friday, when the South Korean K-League returns from its coronavirus shutdown.

President Trump on Thursday did not directly address reports that Attorney General William Barr’s assessment of special counsel Robert Mueller’s...

The current 5.25 per cent interest rate for reverse mortgages under the Government's Pension Loans Scheme has not fallen despite three official cash rate cuts this year.

The ladies spilled plenty of tea.

Over the last few years, social networks have instituted slightly stiffer policies against misinformation, but those systems are being pressed to their limit by a fast-spreading new video. The ‘Plandemic’ clip “spreads debunked conspiracy theories ab...

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Scary stories about Zoombombing and privacy leaks may have you feeling tense about setting up a video call. But under current circumstances there aren’t a lot of other options available, so columnist Violet Blue has some advice on what you should (an...

A Pasadena man found a card tucked away with his Amazon order offering a $20 payment in return for a glowing review — as long as he didn't tell anyone he'd been bribed.

Although the clinical symptoms of SARS, H1N1, MERS, EVALI, and COVID-19 may be nonspecific, some characteristic imaging findings are emerging, says the American Journal of Roentgenology (AJR). Careful evaluation of the distribution, lung zone preference, and symmetry of the abnormalities with an eye for a few unique differentiating imaging features can allow radiologists to offer a narrower differential diagnosis in pediatric patients, leading to optimal patient care.

Boris Johnson will chair a Cabinet meeting on Thursday and is expected to announce a lifting of some measures on Sunday.

It comes as a six-week-old baby was among the 332 deaths announced by NHS England.

The retail giant Cotton On reverses its decision to exclude 200 staff from the JobKeeper program as it faces uproar from casual workers who say they are being unfairly denied the wage subsidy.