Een opvallende onthulling van de nieuwe Witte Huis-woordvoerder Katie Zacharia: ze geeft toe dat ze eigenlijk óók geen persvoorlichter is. “Ik kan nog niet eens normaal een persconferentie leiden, al zei ik bij mijn sollicitatiegesprek van wel. Excuses.” Zacharia claimde dat ze een capabele persvoorlichter is, maar blijkt eigenlijk een doodgewone Fox News-commentator te zijn. “Nu is ‘persvoorlichter’ natuurlijk geen beschermde titel, maar wie mij deze week zo zag schutteren, weet zeker dat ik me zo niet mag noemen.”

Like a classic espresso martini, but with the addition of vanilla vodka

This is our twist on the much-loved classic. It takes inspiration from a classic espresso martini, with the addition of vanilla vodka bringing with it an oaked edge that cuts the sweetness of the sherry.

Andréa Nuninger, restaurant manager, Àclèaf, Plympton, Devon

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Susan Lyall worked with actor Jeremy Strong to research the Meta CEO’s favorite Nikes and luxury sweaters

The first Aaron Sorkin Facebook movie, 2010’s The Social Network, helped cement the early aughts image of Mark Zuckerberg rebelling against corporate norms in rumpled hoodies and T-shirts.

The follow-up, The Social Reckoning, is carbon-dated from 2019 to 2021. This is “post-hoodie”, as the movie’s costume designer, Susan Lyall, describes it, “post-thumbing his nose” to formality. It is also peak robot. Zuckerberg’s reserved wardrobe of suits or interchangeable long-sleeved shirts echo his chilling composure throughout, even as fury simmers under the surface.

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Not every great novel makes a great movie, and sometimes the opposite is true. But regardless of the source text, or how beloved characters are treated, there is more than one way to write a successful adaptation

It is always fun to join in a craze, like a Victorian going mad for penny farthings. Which is probably why, against my better judgment, I went to see Christopher Nolan’s blockbuster The Odyssey this summer, buying my ticket into the popular conversation along with everyone else. This year’s other divisive adaptation, Emerald Fennell’s Wuthering Heights, had the world and his wife arguing about it before they had even watched the film. No doubt the makers of the recent Sense and Sensibility movie were also hoping for lots of people to go and see it to discover whether they hated it.

After all, very few of us leave the cinema saying: “That’s exactly how I pictured it in my head.” Or even less likely: “That was better than the book.” We’re more likely to shake our fists at how they ruined the ending, dumbed it down, unforgivably cast somebody with the wrong hair, or betrayed a beloved character, as with last year’s Thursday Murder Club debacle.

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The film’s testimonies from Israeli soldiers and intelligence officers expose years of baseless propaganda. Don’t take my word – take theirs

I watched the extraordinary new Guardian-produced documentary from Oscar-winning Israeli film-makers Yuval Abraham and Rachel Szor the other night, and I have struggled to stop thinking about it ever since. The film’s title comes from a Hebrew military term for collateral damage, and it consists of eye-opening interviews with two dozen Israeli soldiers and intelligence officers sitting in darkness, often on the rooftops of Tel Aviv, their voices “digitally altered to disguise their identities”.

At one point, Abraham asks one of the soldiers a remarkably blunt question.

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The comedy smash is back – and now the standups aren’t allowed to laugh or shriek! Lou Sanders, Tom Allen, Phil Wang and more reveal what made them crack – and what happened when they went too far

What could be more disorientating for a comedian than not being able to laugh – for nine hours! – nor elicit laughter from anyone else in the room? I’ll tell you. Try all of the above on a sunny summer weekend while pretending it’s Halloween. Then force the comics to return to the scene of what one of their number, Phil Wang, calls “a cross between a gameshow and a psychological experiment”, and relive the whole ordeal for a man from the Guardian. Is it any wonder Wang, Lou Sanders, Tom Allen and others come across as a little punch-drunk 24 hours after emerging from televised captivity on the smash comedy hit Last One Laughing?

It’s the day after filming, at Elstree Studios, the show’s Halloween special which sees a unique tweak to its winning formula: contestants must not only refrain from laughter but from screaming. “Which I thought might be a non-event,” says Wang, “but it’s actually harder. I didn’t know I was a screamer. Turns out I am.” The participating comics – including paranormal obsessive Daisy May Cooper and that maestro of comedy-horror, Reece Shearsmith – seek not only to amuse each other but spook them too. Which makes sense, says host Jimmy Carr. “Laughs and screams come from the same place. There’s surprise in a joke, and there’s surprise in a jump scare. Comedy and horror mess around in the same area. It’s the same bit of your brain.”

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De voorganger van We zijn toch familie was een succes. Nu speelt ook Paul de Leeuw mee, maar is de musical minder spectaculair.

Het Amerikaanse Eli Lilly, dat onlangs toestemming kreeg een medicijnenfabriek te bouwen in Katwijk, heeft een beurswaarde vergelijkbaar met die van de techgiganten. Dat succes dankt de farmaceut aan één molecuul.

Veel beeldhouwers uit Noord-Europa reisden in de 16de en 17de eeuw naar Italië om er van de Renaissance-meesters te leren. In een prachtige expositie is nu te zien hoe ze die kennis over heel Europa meenamen.