A decade after it was first shown, an episode of cold war drama The Game, starring Brian Cox, is causing a surprising flurry of excitement …

Name: The best hour of TV.

Age: Ten years old.

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Wyndham’s theatre, London
Cox is thrilling as an overbearing patriarch but it’s Clarkson who steals the show in Eugene O’Neill’s agonising family drama

The overbearing patriarch in Eugene O’Neill’s semi-autobiographical drama is an actor who feels his career has been straitjacketed by typecasting. Could James Tyrone be speaking for Brian Cox too who, playing him, steps almost seamlessly from Succession’s paterfamilias to O’Neill’s flawed father marshalling obstreperous sons?

Even if so, Cox is, as always, thrilling to watch. Yet it is Patricia Clarkson as his “morphine fiend” of a wife, just returned from a sanatorium and tumbling back into addiction, who steals the show. Clarkson exudes vulnerability along with hard denial. For all the play’s period elements – it is set in 1912 – hers feels like a true, infuriating, compassionate portrait of an addict.

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The Garrick Club has been under pressure to change its rules to allow female members. After years of debate, and accusations that it is an elite and misogynistic institution, change may finally happen later this year when its current members are likely to be asked to vote again on the issue.

A Guardian investigation into those who will help decide on this issue reveals a host of people in public life who are members of the club – from the head of the civil service to the chief of MI6, and the deputy prime minister to high court judges.

A list of some of the most prominent members of the men-only Garrick reveals the club’s central position as a bulwark of the British establishment, featuring scores of leading lawyers, heads of publicly funded arts institutions and King Charles.

We approached all of those pictured for comment. Most declined to do so, but we have included responses from those who did

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Succession actor is a one of many discordant parts in this coming-of-age saga about pigeons, which are the best thing about the movie

The coming-of-age drama Little Wing opens with two facts, both quoted from the 2006 New Yorker article of the same name by Susan Orlean. The first: “Americans move, on average, every five years; pigeons almost never move.” The second: that racing pigeons “have a fixed, profound and nearly incontrovertible sense of home”.

The title card successfully imparts a few facts about the film, which premieres this week on the streaming service Paramount+. One, that Little Wing, directed by Dean Israelite from a screenplay by John Gatins, will awkwardly interpose human concerns with the very different realities of pigeons, who are indeed fascinating and the best thing about this movie. And that the film will attempt to vest such comparisons with certain deep insights about our sense of belonging and home.

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