It’s been 25 years since the release of this film skewering an industry that famously takes itself very seriously. It might have been comedy gold but it was also, in its own way, prophetic

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Critics were divided, the US release date couldn’t have been worse (a few days after 9/11) and the sequel was a flop. Yet few films have predicted fashion’s own present like 2001’s Zoolander. The memeable absurdist comedy about the “three-times male model of the year” was a cinematic Cassandra: correctly predicting themes, styles and sensibilities of the industry that still ring true today.

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An empathetic biography of the the singer recasts her tumultuous later career as a triumph of self-expression

Since Whitney Houston’s death in 2012, a flurry of books and documentaries have appeared, most of them presenting her life as a cautionary tale. In this new biography, Emily Lordi, a professor of English at Vanderbilt University, refuses to reduce Houston’s story to another “good girl gone bad” narrative. Instead she presents a pluralistic take on her life in which Houston’s queerness, drug use and eccentricities are not dismissed as aberrations (as they were in her lifetime) but rather seen in the wider context of her unique talent and the pressures placed on her to embody black excellence.

Lordi describes the unsteady building blocks of Houston’s family (her mother Cissy’s band The Sweet Inspirations were in-demand session musicians who worked with Elvis, as well as on Van Morrison’s Brown Eyed Girl and Dusty Springfield’s Son of a Preacher Man). When Cissy was still a child, Houston’s grandmother had a debilitating stroke following a miscarriage, eventually succumbing to a cerebral haemorrhage during a later pregnancy. The response to this trauma was to bury it. As Lordi writes: “Here was a lesson in suppressing your feelings and getting on with it.” But in a book where the act of singing through the pain is invoked multiple times, it is striking that reports Houston was molested as a child (a pivotal part of Kevin Macdonald’s 2018 documentary, which drew a line between that and her addictions) are not discussed.

John Boyega, who was friends with Damilola, speaks in this moving programme. Plus: David Harewood’s superb new legal drama. Here’s what to watch this evening

9pm, BBC Two
It’s been 26 years since 10-year-old Damilola Taylor was killed by teenagers. For the first time, the last people to see him alive create this essential account: from the actor John Boyega and Boyega’s sister Grace (Damilola’s mates who were at the library with him) to Guillermo Casal (the North Peckham Estate caretaker who found Damilola and cradled him as he died). His brother Tunde and the former Met officer Leroy Logan also revisit events, which eventually led to the conviction of two brothers, and take a wider look at why there were so many similar killings. The trauma and sadness remain palpable, but there is also a lot of love and even hope to be found in Damilola’s legacy. Hollie Richardson

The Dinosaur Jr axe man stole from his mum to buy a Beach Boys record and squeaks to Tom Petty – but which punk banger made him cry?

What’s the first song you fell in love with?
Monster Mash by Bobby “Boris” Pickett. Monsters appealed to me as a kid. I found it funny, not spooky. Since I had a kid, Halloween has become the biggest holiday of the year.

What was the first single you bought?
I bought Darlin’ by the Beach Boys with the money I would steal from my mom. I always liked the Beach Boys. I remember they were quite unhip for a while: I played them at a gig around 1989 before we came on and people hated it. Now they’ve become more hip again.

Neville may have been mocked for wearing them on Monday Night Football, but he is actually bang on trend

From Kylian Mbappé’s World Cup style to Erling Haaland’s hair tie, football has had many viral fashion moments in 2026.

Perhaps the one that speaks to the fashion crowd, and a larger debate happening in menswear right now, is Gary Neville being mercilessly teased on Sky Sports’ Monday Night Football for sporting wide-legged trousers.

The Black Bananas singer knows all the words to Rapper’s Delight and relates to AC/DC, but which song reminds her of a heartbreaking theft?

The first song I fell in love with
Van Halen’s Runnin’ With the Devil. I was five or six and I went to visit my cousin Tommy who was much older. He was on a hockey team and we went to see them practise before the game and they had Runnin’ With the Devil on really loud. I was like: “Wait, what’s this?!”

The song I do at karaoke
You Shook Me All Night Long by AC/DC. Me and Brian Johnson – my voice has that thing, you know?

The star voices a maverick cop in new cartoon Grimsburg. Plus: the finale of Scottish crime drama Granite Harbour. Here’s what to watch this evening

10.15pm, Sky One
A triple bill of this adult cartoon starring Jon Hamm, which quietly debuted in the UK last week. Hamm plays police detective Marvin Flute, who has moved back to his home town to reconnect with his family and continue solving bizarre crimes. This time, there are easy laughs to be had as he finds himself accused of murdering a judge and tries to clear his own name. Hollie Richardson

The alt-rock veteran answers your questions on Buddhist time travel techniques, duetting with Michael Stipe, and her autobiographical new album

Do you think Throwing Muses would have sounded different were it not for your bicycle accident? [Hersh was struck by a car when she was 16, resulting in a concussion that changed the way she heard sound.] Bhafc99
Yes. I think people might have liked us more, but we would have been more forgettable. Our songs were not very marketable. They came from a place of such utter honesty that it was difficult for us to become a band with an image, ambition or direction, which plays well on a human level, but not on a corporate one. Some people hate our music; they can’t deal with it because it’s triggering [emotionally], which I get.

I was compelled to make music after cracking my skull open and then my life was very upsetting. But at the same time, I had real listeners. If you happen to come across a song that resonates with you, then it’s yours – you can ignore the musician who played it, because they were just the messenger.

Quirky crime series Death Valley is back with its unlikely detective duo. Plus: Australian thriller The Family Next Door. Here’s what to watch this evening

8.15pm, BBC One

1970s and 80s New York are viscerally evoked in this potent memoir of the ‘no wave’ scene

You won’t necessarily have heard of Adele Bertei: she was a member of experimental jazz-punk band the Contortions from 1977 and recorded the pop-house single Build Me a Bridge. But her memoir is an essential slice of New York’s bohemian pizza pie, and works in part because she is a relative unknown, not weighed down by her own cultural baggage.

Following a troubled, itinerant upbringing, she arrives in Manhattan in 1977 to find a city on its knees. The big apple was in the red, both literally (fires were a regular occurrence) and monetarily (there was a municipal debt crisis). But pre-Aids and post-Warhol’s avant garde grip, it was also a place that was creatively open.

Family trauma shapes a student’s affair with her teacher in this bleak and funny fiction debut from the American memoirist

When it was published in 2022, Jennette McCurdy’s memoir lit a touchpaper to a nascent cultural conversation. I’m Glad My Mom Died introduced her mother Debra’s narcissistic personality disorder into a world eager to discuss adult child and parent estrangement. McCurdy had also suffered sexual abuse, and claimed her mother had contributed to her developing an eating disorder. The memoir was a bestseller, walking readers through the realities of generational trauma; a step change for the former Disney child star who had been “the funny one” on obnoxious Nickelodeon kids’ shows.

In her debut work of fiction, Half His Age, McCurdy continues to shake open a Pandora’s box, shedding light on blurred parent-child boundaries and loss of identity due to over-enmeshment, with solid one-liners that feel straight out of a sitcom writers’ room.