Category: 5. Entertainment

Here is a sincere and traditional melodrama that opens with a brief sequence that slightly wrongfoots the audience: a small child running at night through a setting that calls to mind little Danny in the hedge maze in The Shining. But this is no horror movie; there is past trauma and tragedy a-plenty, but for the most part, this is a warm-hearted drama that plays out like a modern Mr Chips story.

Based on the real life of the protagonist Nate (Nicholas Hamilton), a delinquent youth in 1980s America, the film’s focus is on his relationship with drama teacher Mr Deen (Jared Harris); Deen is a likable but lonely man whose tendency to generosity reaches its apogee when he takes on Nate as a personal project after a series of bad choices by the troubled teen. Deen reveals at one point that as a youngster he harboured acting ambitions, with James Dean a particular touchstone, and indeed the film could almost be a Dean movie – Nate’s fondness for leather jackets and emotional outbursts strike a familiar note.

True, Nate’s refusal to take no for an answer when rejected by his girlfriend strikes a slightly sour note, and it’s interesting that when more of his backstory is finally revealed, Brave the Dark doesn’t seek to push any generational parables. However, it’s to the film’s credit all round that while it functions as a fairly broad-brush drama with plenty of heightened emotion and sentimental moments, it never becomes a didactic message movie – it’s too rooted in personal dynamics. After all, it comes from a personal place: the script is co-written by the real-life Nate, and it’s a lovely tribute to the actual Mr Deen, who died in 2016. It’s a shame he never got to see Harris’s take on him, because, as ever with Harris, it’s a really fine performance.

● Brave the Dark is on digital platforms from 15 September.

Stacey & Joe

8pm, BBC One
In the first series of Stacey Solomon and Joe Swash’s life-at-home series, Joe was a bit useless. “You said Pickle Cottage is like our relationship: it constantly needs work,” reflects Stacey in this second series. “I haven’t seen you put much work in!” Has he taken note? Well, there’s a promise of “more romance” as they go away for his birthday. Leave your cynicism at the door – it’s undeniably sweet viewing. Hollie Richardson

The Great British Bake Off

8pm, Channel 4

It’s biscuit week on Bake Off, and if you think we’d resort to cheap puns, you’d be absolutely right. Noel and Alison whisk the bakers through a batch of crumb-believable challenges, including crafting a classic chocolate Hobnob. When it comes to the crunch, who’ll be a jammie dodger and who’ll crumble under pressure? Ali Catterall

The Yorkshire Vet

8pm, Channel 5
A lamb that has been born with five legs and six feet needs treatment this week. Elsewhere, an old basset hound is having surgery on its poorly eye, and a rhea – a flightless bird also known as a South American ostrich – has been attacked by dogs. HR

The Great British Sewing Bee

9pm, BBC One
It’s the semi-final, and a series of 1920s-inspired challenges suggest the producers think the world spent that decade engaged in upper-class sporting pursuits. First, contestants recreate golfing plus-fours, then polo shirts inspired by the tennis player René Lacoste’s invention of them, and finally it’s partywear. Tally ho! Alexi Duggins

Casualty 24/7: Every Second Counts

9pm, Channel 5
Another tense shift in the Barnsley A&E department, starting with a 70-year-old struggling to breathe since holidaying in Tunisia. A fellow septuagenarian is also rushed in as she is bleeding heavily after a fall. And a 12-year-old boy has broken his hand. HR

Resident Alien

10.05pm, Sky Max
Now that flailing alien Harry is stuck in human form, this sci-fi comedy has settled into a Northern Exposure-style groove about life in a remote town full of eccentrics. With UFO stuff on the backburner, stressed nurse Asta tries to keep the family diner running smoothly while her father is away. Graeme Virtue

Film choice

The Old Man & the Gun (David Lowery, 2018), 2.15am, Channel 4

David Lowery is one of the most fascinating directors working today, flitting between Disney fare such as Pete’s Dragon and the hardcore arthouse of A Ghost Story. But with 2018’s The Old Man & the Gun, he hit the exact midpoint between the two. Robert Redford plays Forrest Tucker, a career criminal whose string of heists enchants everyone around him, including the officers pursuing him. To date, The Old Man & the Gun represents Redford’s last substantial film role. If it remains so, it’s the perfect way for him to go out. Stuart Heritage

Tiger Shroff’s Baaghi franchise has been flying high… until now. Baaghi 4 has stumbled out of the gate, posting the lowest domestic collections in the franchise’s history. After a lackluster opening weekend, the Monday numbers made it official: a mere Rs 4.25 crore, down from Sunday’s Rs 10 crore and Saturday’s Rs 9.25 crore. Its best single-day haul remains the opening-day Rs 12 crore. Four days in, according to Sacnilk, Baaghi 4 has amassed Rs 35.5 crore, enough to barely edge past Shahid Kapoor’s cop thriller Deva (Rs 33.97 crore), but still lagging behind re-releases and dubbed hits like Sanam Teri Kasam, Coolie, and Maa.

The lack of strong menswear talent on the schedule is a sticking point. “Tokyo’s designer fashion scene has traditionally been very strong in menswear, yet unlike other global cities, Tokyo does not have a dedicated men’s fashion week aligned with the international menswear calendar,” says Mami Osugi, a Tokyo-based editor who serves on the jury of the Tokyo Fashion Award. “As a result, Tokyo’s talented menswear designers often miss out on the global attention they deserve.”

JFWO is currently working on solutions, says Imajo. “One thing we may do in February is try and get the [off-schedule] brands to show closer to each other, but stretching everything out is easier for the designers because they are able to get the models and the venues [they want],” he says. Staying in closer contact with visiting buyers and inviting them to off-schedule shows is also an option JFWO are considering, Imajo adds.

A growing front row

Another of Tokyo Fashion Week’s main challenges has been its lack of international buyers and press. JFWO is gradually addressing this, and this season, invited more influential figures from Asia and beyond. Returning attendees this time included Andreas Murkudis of the eponymous store in Berlin, and journalist Eugene Rabkin of Style Zeitgeist; new invitees included menswear and womenswear buyers from 10 Corso Como in Seoul and IT in Hong Kong.

Rabkin intends to continue attending Tokyo Fashion Week whenever possible, finding it more interesting than Europe. “There are a lot of designers that you can only see here in Tokyo,” he says. “There is more of a connection between the brands, the fashion shows, the shops and the people in the street. In Paris, I always feel like I’m in a circus, and I don’t get that feeling in Tokyo, because you actually see interesting kids in the street. There’s more congruence.” Kohei Hashimoto, a womenswear buyer at Isetan, echoes the sentiment. “Tokyo stands out for the depth of consumer understanding of clothing and the closeness of fashion to everyday life. I believe it surpasses any other city in this respect,” he says.

June Moon, chief womenswear buyer for 10 Corso Como Seoul, served on the jury of the Tokyo Fashion Award and was invited to attend Tokyo Fashion Week for the first time. “Compared to Seoul, which is very trendy and changes very fast, Japan is more consistent,” she says. “Japanese designers have their core philosophy and build the brand around this story.”

Legacy designers, new faces and breakthrough talent

Even with its smaller size, the week offered a blend of newcomer debuts alongside the return of legacy designers. Tsumori Chisato, known for her pastel kawaii prints and bold silhouettes, joined the schedule for a show celebrating her brand’s 35th anniversary. “It was my first time showing in seven and a half years,” she told press after the show. “I put all the rainbows and colours in my clothes to show my appreciation for everyone, for supporting me for all these years.”

Already at the high end of luxury fragrances, Maison Francis Kurkdjian’s hero Baccarat Rouge 540 is getting a five-figure upgrade.

In mid-September, the perfume house will unveil a $28,000 special-edition offering of the scent, complete with a crystal case and exclusive refill membership. The brand joins a wider range of LVMH labels unveiling fragrances at prices once reserved for handbags and jewellery as collectors’ enthusiasm drives demand.

The Baccarat Rouge 540 Édition Millésime will be released in 54-product batches over the next decade, for a total of 540. With permanent collection bottles at $695 for 6.8 ounces, its price premium comes partly from the addition of ambergris to its ingredient list. But its crystal packaging takes top billing. The brand’s original bottle designer Fred Rawyler was enlisted to design a red crystal vessel. A crystal-compatible spray function was added to its 24-carat-gold cap, while 19 Baccarat artisans created a crystal display for the bottle that took 500 hours. The fragrance comes in a leather and beveled mirror-lined spruce box and a hand-stitched lambskin sleeve by Paris leather workshop Atelier Renard.

“When I create, I never begin by thinking about the client. I simply follow my creative vision, striving to bring beauty into the world through my fragrances,” said Kurkdjian, the brand’s perfumer and artistic director.

While Kurkdjian has long offered pricier bespoke fragrances for VIP clients, the launch is the label’s first “exceptional piece” to be unveiled by the maison.

Owners will have access to what CEO Marc Chaya describes as “the ultimate customer journey,” an exclusive members club called Les amis du Rouge, inclusive of up to five refill purchases a year. Club membership will also include curated brand experiences such as dinners, masterclasses with Kurkdjian, shows at the brand-partnered Vienna State Opera and a visit to the perfumer’s upcoming Palais de Tokyo solo exhibition.

Ultra-high-end collectible fragrance launches, long a practice of fellow LVMH-owned perfumier Guerlain, have become more frequent at the luxury house as avid collectors have helped drive a high-end fragrance boom. Some of the most expensive perfumes have been Bulgari’s Opera Prima launched for $235,000 in 2014 and Dior’s J’adore L’or Prestige Edition for $75,000 in 2016.

Learn more:

The Fragrance Market’s Squeezed Middle

Fragrance may be booming, but the premium category has cratered compared to high-end niche perfumes and affordable body and hair mists that have become an expansion focus for brands.

Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders’ documentation guaranteeing BoF’s complete editorial independence.

According to close friends, Prince Harry wants to keep coming back to meet family and wants to bring his wife, Meghan Markle and children along, The Times report said.

In May, Prince Harry openly expressed his intention to reconcile with his royal family. In an emotional interview with the BBC, he said he was “devastated” at losing a legal challenge over his security in the UK.

“I would love reconciliation with my family. There’s no point continuing to fight any more, life is precious,” said Prince Harry, who said the dispute over his security had “always been the sticking point,” he said at the time.

Another friend of Prince Harry told The Times that he made it “absolutely clear” that he wants to rebuild ties with the royal family. “It’s on them now,” he said.

However, those in royal circles see it differently. His unwise choice of words about Charles’s health and repeated suggestion that the King should have intervened in his security battle — something the King would never consider, given his constitutional role may have only compunded the situation.

Prince Harry’s first visit to the UK in months

This week marks Harry’s first extended visit to the UK in months. He arrived in London ahead of the WellChild Awards on Monday, the third anniversary of Queen Elizabeth II’s death.

On Tuesday, he travelled to Nottingham for an event focused on supporting young people affected by violence. The rest of the week will be spent in private meetings and receptions with several of his patronages, including the Invictus Foundation, Scotty’s Little Soldiers, and The Diana Award.

His itinerary has been described as “jam-packed with hardly any downtime,” but amid reconciliatory efforts, there is one question left– Will Prince Harry meet with his father, King Charles III?

The two have not seen each other since February 2024, when Harry made a brief visit following the King’s cancer diagnosis. While both sides are said to miss each other, no meeting is currently scheduled.

In a recent BBC interview, Harry acknowledged the deep fractures within the family, especially with his father. “I don’t know how much longer my father has,” he said. “He won’t speak to me because of this security stuff. Of course, some members of my family will never forgive me for writing a book. But I would love a reconciliation.”

If that happens, it would be the first time the two have met in more than 18 months. Royal biographer Tom Bower called it “a meeting full of peril.”

The Miriam and Ira D. Wallach Art Gallery at Columbia University presents Homage: Queer lineages on video, an exhibition of eight time-based works by contemporary artists who use single- and multi-channel video installations to pay tribute to formative figures and overlooked histories. Curated by Rattanamol Singh Johal, the exhibition upends conventional modes of commemorative image making, such as portraiture, documentary, and monuments, by foregrounding performative interventions, selective appropriation, and imaginative staging.

In their video works, Dineo Seshee Bopape, Tony Cokes, Carolyn Lazard, Kang Seung Lee, P. Staff, Rirkrit Tiravanija, and Apichatpong Weerasethakul preference desiring, melancholic and reflexive forms of relationality across generations through works that posit queer forms of kinship. In a challenge to the preoccupation with visibility and publicness across the politics of identity and representation, these works demonstrate the potential of anachronistic gestures, formal affinities, and archival adjacencies in reframing relationships between artists and their chosen ancestors. The resulting constellation reveals modes of memorialization–of paying homage–that disturb canonicity and heroization through constant creative reinterpretation. 

Some of the artists engage with formal structures and characteristics of experimental film and early video. Disparate legacies of these avant-garde forms of the 1960s and 1970s are made manifest in their contemporary works, which surface issues of landscape and ecology (Weerasethakul), disability and perception (Lazard), and representation and narcissism (Bopape). Deploying sound, slowness, flash, and flicker, these artists attempt a queer reorientation of spectatorial sensibilities, directing them towards questions of place, identity, and access while retaining visual tropes of experimental moving-image practices.

Queer subjects and their ongoing investments in nurturing resistance, artistic expression, and joy are mobilized in installations by Lee, Cokes, Staff, and Tiravanija. As diverse artists across generations address the ongoing impact of HIV/AIDS on culture and lived experience, significant actors and histories from different contexts are brought into affective dialogue. The body is addressed and implicated across all these works, which consider the legacies and lived experiences of illness that have catalyzed communities of care and networks of solidarity among the living and the long departed.

The exhibition is accompanied by a 68-page publication with contributions by Rattanamol Singh Johal, Binghao Wong, Piper Marshall, Gaëtan Thomas, and Lynton Talbot. 

Jamea Richmond-Edwards: Another World and Yet the Same
September 13, 2025–June 14, 2026
Ruth and Elmer Wellin Museum of Art at Hamilton College

The Wellin Museum of Art at Hamilton College presents Jamea Richmond-Edwards: Another World and Yet the Same, a large-scale survey of work by Detroit-based artist Jamea Richmond-Edwards. Highlighting her interdisciplinary practice, this exhibition features a selection of mixed-media paintings from the past seven years alongside a body of newly created work debuting at the Wellin. For over a decade, Richmond-Edwards has drawn inspiration from the communities and cultural signifiers of her hometown of Detroit, using her art to reflect on personal experiences and broader social and environmental themes. In this exhibition, the artist weaves an epic narrative following a caravan of family and friends on a fictional journey to Antarctica to build a new egalitarian society. This fantastical expedition explores the challenges of creating a utopia on a rapidly shrinking continent and examines the complexities of self-determination.

Richmond-Edwards draws inspiration from diverse sources, including the biblical stories of Exodus, the science fiction mythology of jazz musician Sun Ra, and the exploration of both real and imagined continents. Her work reflects a deep engagement with themes of migration, resilience, and the quest for a more equitable world. The exhibition’s title, borrowed from the seventeenth-century dystopian literary work about a voyage to the oceans south of Africa entitled Mundus alter et idem by Joseph Hall, underscores the artist’s exploration of the potential for societal transformation.

Jamea Richmond-Edwards: Another World and Yet the Same is curated by Alexander Jarman, Assistant Curator of Exhibitions and Academic Outreach, Ruth and Elmer Wellin  of Art at Hamilton College. A fully illustrated exhibition catalogue will be published in 2026, edited by Tracy L. Adler, Johnson-Pote Director of the Wellin Museum of Art, with contributions by Alexander Jarman; Melanee C. Harvey, Associate Professor and Coordinator of Art History at Howard University; and Juana Williams, independent art curator and writer based in Detroit. 

Alongside the solo exhibition, the Wellin Museum presents EXODUS, a group exhibition curated by Richmond-Edwards to honor the mentors and peers who have profoundly shaped her artistic journey. Featuring artists Akili Ron Anderson, Wesley Clark, Larry W. Cook, Shaunté Gates, Hubert Massey, Stan Squirewell, and Felandus Thames, EXODUS highlights the vital role of artistic kinship and collaboration in navigating both personal and structural challenges within the creative field.

Public programs
Friday, September 12 at 1pm (Facebook Live): Virtual artist & curator preview
Saturday, September 13: In-person panel discussion (2:30pm) followed by opening reception (4–6pm)
Monday, October 6 at 4:30pm: Hybrid “artists in conversation” lecture featuring Jamea Richmond-Edwards

About the Wellin Museum of Art
A teaching museum located on the campus of Hamilton College in Clinton, New York, the Wellin Museum invites visitors to discover the arts and form unexpected connections through groundbreaking exhibitions, a globally representative collection, and innovative programming for the campus community and beyond. Artists whose work has been featured in solo exhibitions organized by the Wellin include Jeffrey Gibson, Yun-Fei Ji, Yashua Klos, Sarah Oppenheimer, Michael Rakowitz, Elias Sime, and Renée Stout, among many others. Through its exhibitions, public programs, publications, and educational outreach, the Wellin Museum sparks dialogues across disciplines, inspires experimentation, and fosters creative inquiry. Opened in 2012 under the leadership of Tracy L. Adler, the innovative facility was designed by Machado Silvetti Associates and features a 27-foot-high visible archive, a large exhibition gallery, and other amenities that foster common exchange and learning.

For more information, visit here, subscribe to the museum’s newsletter, and join the conversation on social media.

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This article is the latest part of the FT’s Financial Literacy and Inclusion Campaign

Martin Lewis has called for Big Tech companies to be threatened with fines worth “tens of billions of pounds” to end the menace of AI-generated deepfake adverts on social media platforms, stressing the damage to British victims’ mental health as well as their finances.

Speaking at the FT Weekend Festival on Saturday, the consumer champion said it was not unusual for “300 to 400” scams a day featuring his image to appear across different social media platforms, including deepfake videos in which the Money Saving Expert founder appeared to be promoting fraudulent investment schemes.

“There are scam ads of me in computer games that children play, they’re all over the place,” he said. “I have people on my team who can spend half their week dealing with scam ads with me in [and getting them taken down].” He questioned why he had to fund this, and not the online tech groups.

Lewis said he had attended meetings with Big Tech companies who had told him they were investing in better software to spot and remove scam ads, but were resistant to his calls to employ more people to do so.

“Does Big Tech want scams on their platforms? No. I don’t believe they do. But this is a financial decision, not a technological decision,” he said to a round of applause from the audience in the FT Money tent at Kenwood House in north London.

“The reason they don’t crack down on scams is because it would slow down the advertising process and decrease their revenue. When we do put regulations in place . . . we need to be fining them tens of billions of pounds for bastardising our economy and hurting vulnerable people when they allow [scam ads], so much so that it is worthwhile financially for them to change their advertising practices to avoid the fines.”

Lewis waged a successful campaign to have scam ads included in the scope of the UK’s online safety bill in 2023, but a consultation on tackling scam ads will not take place until next year, leading him to fear consumers will not be protected by any additional legislation “until 2027” at the earliest, assuming UK regulators are “brave enough to enforce it”.

He expressed his deep frustration that for now, consumers remain unprotected. “When you’re scammed, especially for older people; you’re in retirement and your money’s gone . . . you hate yourself forever that you fell for it.”

Six years ago, Lewis personally sued Facebook for defamation over the issue of scam adverts fraudulently featuring his image, donating his £3mn out-of-court settlement to Citizens Advice to help victims of fraud. 

Meta, the owner of Facebook, was approached for comment.

Nearly 80 per cent of scams originate online, according to research by banking trade body UK Finance, with social media platforms accounting for around three-quarters of this total.

Advances in generative AI technology have led to a surge of investment scams with deepfake videos featuring the images of celebrities ranging from Elon Musk, Lewis, stars of the British TV series Dragons’ Den and the FT’s senior economics commentator Martin Wolf.

Last week, on ITV’s This Morning programme, Lewis was visibly upset when he met Gill Casey, the widow of 85-year-old Tim Casey who lost £120,000 to a deepfake scam that used his image to promote a fraudulent crypto investment scheme.

On another occasion, he said he had been approached by a member of the public who had fallen victim to a similar deepfake investment scam featuring Lewis’s image, but who refused to believe it was not real. “It took me over 20 minutes to persuade him it was a scam,” he said. “It’s funny, and it’s tragic, and it’s happening everywhere.

“I almost think the word ‘scam’ inures us to it . . . this is sophisticated organised crime. [Big Tech] needs to deny these criminals the oxygen of publicity.”