A Norwegian television advert improbably featuring the likes of Roger Moore, John Nettles and Paul McKenna lip synching to a 1980s cover of Let It Be has become a viral internet hit.

Rancid whiffs of cooking hang in the air of this highly charged staging of Tennessee Williams's A Streetcar Named Desire.

A dish with all the wrong ingredients

Nobody plays a manipulative monster as well as Glenn Close. As she returns to our screens in a welcome third season of the legal drama Damages, Gerard Gilbert celebrates the star's formidable froideur

At the end of the rainbow

It's astonishing to think that the thrillers of the 1980s are now deemed insufficiently bland and glossy for mainstream audiences, but it's true. In May we had Obsessed, a (12A)-rated copy of Fatal Attraction, and now we have a plastic, production-line remake of 1987's The Stepfather – with no blood, no swearing, no sex, and no violence – that wouldn't be at home in an episode of Poirot. I'm not even sure why it deserves a 15 certificate, except for all the gratuitous shots of Amber Heard in an itsy-bitsy bikini.

As Patrice Chéreau's 'Persecution' premieres at the London Film Festival, Geoffrey Macnab looks over his shoulder and sees the stalker movie lurking in the shadows of movie history

They’ve been the epitome of power dressing since the Forties – and now, thanks to Posh, they’re back. By Carola Long and Harriet Walker

Between now and the 'Sex and the City' sequel's release, we will no doubt be treated to never ending behind-the-scenes shots of the bag- and shoe-toting stars on set. So far so predictable, but last week a more entertaining photo appeared of SJP sporting a perm that would make a poodle look sleek. Reportedly for an Eighties flashback scene, it served as a handy reminder that although the decade that the natural look forgot is back, there is good Eighties and there is bad Eighties. Very bad.

Bergen Art Museum, Norway

Bunny boilers ahoy. This lame and laughable stalker-thriller makes Fatal Attraction look thoughtful.

The continuing controversy over MPs' expenses has finally galvanised the Prime Minister into action. Gordon Brown wants MPs to vote next week to abolish their second-home allowance and replace it with a flat fee for daily attendance, and today Sir Christopher Kelly publishes the first findings of his committee's inquiry into Standards in Public Life.

After many bit-part roles in big movies, Rose Byrne tells James Mottram what it's like in the spotlight

"You're the only one I can trust, Patty," said Daniel Purcell, neck-deep in the kind of corporate malfeasance that is the chief stock in trade of Damages. Patty's eyes glittered hungrily. Telling Patty that she's the only one you trust is a bit like handing your baby to a boa constrictor and saying "Could you hold her for a minute, but please don't squeeze too tight." Patty lives on betrayed trust, and she hasn't had a meal for some time now, what with recovering from the shuddering, mascara-dribbling breakdown that concluded the last series of Damages. Just like that series, this one began with a teasing flash-forward, as Ellen Parsons menaces an unseen character with a pistol. Then we're back in the moment – "six months earlier" – as the drama sets about connecting these two temporal points with the most convoluted and tangled line it can get away with.