The popularity of Hand’s book Not the Perfect Victim is the latest twist in a story that puts the spotlight on how society responds to sexual assault allegations

Nikita Hand had a compelling reason to not pursue a civil rape case against Conor McGregor. She was, in her own view, an imperfect victim.

The day of the assault, she had been partying with alcohol and cocaine before contacting McGregor, who took her to a Dublin hotel.

• Saturday’s bout in Las Vegas finished in first round

• Irishman says he will undergo surgery on leg

Conor McGregor says he plans to fight again in UFC despite the fact that his return to competition lasted just 69 seconds before he suffered a leg injury, which he says will require ⁠surgery.

“Surgery. Prehab. Return ⁠to ​martial arts practice. Go again,” McGregor wrote on Instagram on Monday. “Final fight of the contract. ⁠Praise God!”

• Bout with Holloway in Las Vegas finishes in first round

• UFC chief Dana White: ‘We’re assuming a blown ACL’

• Irish star’s last fight before Saturday was five years ago

Conor McGregor’s return against Max Holloway at UFC 329 in Las Vegas ended after just 69 seconds of the first round because of a knee injury.

Fighting for the first time in more than five years, the 37-year-old McGregor flew across the ring with a left roundhouse kick when the bout started and landed awkwardly on his right knee.

Five years after his last fight, the Irishman returns to the octagon. His comeback says as much about the UFC’s appetite for its fallen star as it does about McGregor himself

These days Conor McGregor resembles an ace fighter the way a movie set depicts real life. Passing similarities are obvious but anything more than a quick, squinty glance reveals they are not the same.

For the 37-year-old Irishman, the line between genius athlete and performance artist was already blurred by the time he found himself destroyed in front of Dustin Poirier five years ago, yelping foul-mouthed barbs in the painful aftermath of his fourth stoppage loss in seven fights.

Clearly, the former first lady should have been flattered by the remark at the White House cage match

Michelle Obama should feel honoured, apparently.

Do you know what the greatest compliment you can give a woman is? It’s not telling her she’s smart or kind or funny. No, it’s calling her a man. After all, what could be better than being a man?

Arwa Mahdawi is a Guardian columnist

Stagehands poured Coca-Cola on the floor, Ewan McGregor waved his lightsaber, and people did unspeakable things with the film’s Oscars at the post-awards-ceremony party. Director Baz Luhrmann, Jim Broadbent and more recall filming the record-breaking movie

Moulin Rouge! was a whirlwind of a film, an extravagant assault on the senses that reinvigorated the musical. The doomed love affair between Satine (Nicole Kidman), a glamorous cabaret star and courtesan, and Christian (Ewan McGregor), an impoverished English poet, in turn-of-the-century Paris plays out in feverish song-and-dance numbers made up of medleys of iconic pop songs.

By the time it was released in 2001, the Australian director Baz Luhrmann had already perfected his signature style with Strictly Ballroom and Romeo + Juliet – a blend of frantic editing, over-the-top visuals and contemporary music. Moulin Rouge! – the final film in his Red Curtain trilogy – took this up a notch.

Ewan McGregor and Helena Bonham Carter lead an impressive cast in this magical tale – but its focus on two unlikable young protagonists proves wearing

Here is a lacklustre kids’ animation with an ostensibly starry voice cast including Ewan McGregor, Helena Bonham Carter, Mel Brooks and the late Terry Jones. (Oddly, David Walliams is announced and credited online as voicing the Guardian, while the film’s credits indicate the role is played by the prolific but little-known voice actor Stefan Ashton Frank. Wonder what happened there?)

However, it’s important to know before you watch that the lead characters who occupy most of the film’s runtime are two children not voiced by any of these luminaries. Young Elise and Alfie are twins who wish themselves into a magical world before getting into various scrapes. Sadly, Elise is deeply annoying and Alfie is a bit nondescript, which makes the whole thing rather a chore.

This 2003 romcom seemed destined to be a hit. But it was too camp, too synthetic, too satirical: the exact qualities that make it a cult favourite today

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In May 2003, a romcom starring Renée Zellweger and Ewan McGregor seemed like a surefire recipe for success. Zellweger had just earned consecutive best actress Oscar nominations for Bridget Jones’ Diary and Chicago, and McGregor had leading roles in zeitgeist-defining hits including Moulin Rouge and Star Wars. But on release, Down with Love barely made a dent at the box office, and audiences and critics alike were baffled by its camp sensibility and embrace of artifice.

In the film, Zellweger plays writer Barbara Novak, who arrives in New York City in 1962 to publish her feminist manifesto, Down with Love. Novak’s book encourages women to reject romance, embrace sex and refute the rigid gender roles of 50s America, and with the help of her publisher, Vikki (Sarah Paulson), Down with Love becomes a worldwide phenomenon – much to the chagrin of “man’s-man-ladies’-man-man about town” Catcher Block (Ewan McGregor).