The latest music video from David Bowie, which shows the performer dressed as Christ alongside Gary Oldman as a debauched priest and Marion Cotillard as a prostitute, was ‘mistakenly’ removed from YouTube due to its graphic content.

David Bowie comes face to face with his younger self in a new video for his latest single.

Sunday

If you haven't heard of Heather Cocks and Jessica Morgan then you're obviously missing out on one of the greatest joys of the internet.

I’m dragging my damp feet a little on the way to the Royal Academy’s 244th Summer Exhibition: I don’t tend to enjoy seeing those beautiful galleries stuffed ceiling-high with thousands of uninspired animal paintings, still lifes and landscapes, and I find the show’s lack of engagement with new media (if we can still even call it that) borderline perverse.

I finally "got" Wes Anderson the other day. Which is not to say that I hadn't "got" him before – in the sense of liking his work and always being willing to substitute his vision of the world for mine for an hour or two. Though I'm not very fond of fey art-house whimsy (see references to Miranda July passim), there has always been something about.

Wes Anderson's films are as formally distinctive as Peter Greenaway's, and sometimes as maddening. They are pictorial things, but less in the way of a film than, say, a graphic novel. Where Greenaway thinks like a painter, Anderson uses the camera like a cartoonist, each frame hyper-composed in colour and composition, an eccentric mini-work of art in itself. What the frames don't have is much sense of physical or emotional movement from one to another. It's the same with the dialogue. People in Wes World don't overlap in their conversation – a character says something, then there's a pause, then another character replies. Again, it's like the thin white lines dividing one box from another in a comic strip. Some find the effect very charming.

Wes Anderson, 94mins. Starring: Jared Gilman, Kara Hayward, Bruce Willis, Bill Murray, Edward Norton

Fan Bing Bing

Picture this

Lynne Ramsay's bold adaptation of Lionel Shriver's 2003 novel was the most powerful British film of 2011.

"There is no point. That's the point," Kevin points out. Nihilism and annihilation reign in Lynne Ramsay's suitably harrowing adaptation of Lionel Shriver's novel.

You're happily married, but both free to have sex with other people. Are open relationships the answer to modern matrimony – or just a recipe for divorce?