Rich Pelley

Readers are invited to submit questions for actor John Hannah ahead of an upcoming Guardian interview. The piece reviews his roles in films and television series including Four Weddings and a Funeral, Sliding Doors, The Mummy, Spartacus and The Last of Us, and highlights his new GoPro-filmed action thriller Bad Day at the Office, in which he plays a man who wakes beside a corpse with no memory of what happened. Questions are requested by 6pm on 13 August, with answers to appear in a later instalment.

Lucy Beaumont shares a personal playlist shaped by her Hull childhood, family memories and changing musical tastes. She recalls loving the Housemartins’ “Caravan of Love,” memorizing TLC’s “Waterfalls” rap and finding The Stone Roses’ debut album transformative. She recommends Stevie Wonder and Primal Scream for upbeat moments, while Pink Floyd and Otis Redding provide music for grief and reflection. Beaumont says Coldplay, especially “Yellow,” makes her feel carsick, secretly admires Ed Sheeran’s “Supermarket Flowers,” and rejects karaoke despite naming a hypothetical choice.

Established comedians and first-time performers discuss surviving the Edinburgh Fringe, sharing advice on nerves, reviews, ticket sales, routines, homesickness and the pressures of performing daily. Veterans describe a festival that has become more professional, expensive and commercially focused than in earlier decades, while still valuing its creativity and sense of community. Newcomers including Cecily Hitchcock, Ele McKenzie, Sepideh Kaav and Brandy Bex explain the distinctive personal and professional challenges behind their debut shows.

The Guardian invites readers to submit questions for Imelda Staunton ahead of a reader interview. The profile highlights her acclaimed film, television, theatre and musical-theatre career, including roles in The Crown, Vera Drake, Harry Potter, Pride, Downton Abbey and Paddington. Her latest film, & Sons, reunites her with Bill Nighy, and selected reader questions will be answered and published in Film & Music.

Reef members Jack Bessant and Gary Stringer explain how “Place Your Hands” developed from Bessant’s Motown-influenced bassline, Kenwyn House’s guitar riff and Stringer’s lyrics about grieving his grandfather and seeking comfort. They recall recording with producer George Drakoulias at Abbey Road and in Los Angeles, the song’s promotion through BBC Radio 1 and TFI Friday, and the making of its expensive video. The musicians reflect on how 1990s rock culture discouraged male emotional openness, while the song’s enduring popularity and financial importance have made it a defining force in Reef’s career.

Elaine Paige shares the songs that shaped her life, from singing the Everly Brothers with a childhood friend and buying Perry Como for her mother to unexpectedly performing in Hair and finding career-defining success with “Don’t Cry for Me Argentina” in Evita. Her playlist reflects an affection for pop, crooners, musical theatre, opera and Mozart, alongside personal memories of family, performance and loss. She also names songs associated with parties, karaoke, romance, waking up and her eventual funeral, while promoting her new album Miscellaneous Paige.

Tricky reflects on influential songs throughout his life, linking tracks to formative relationships, emotional memories and artistic inspiration. He recalls music tied to his youth in Bristol, songs that shaped his career ambitions, and tracks that energize or move him. While noting that fans often use his music during intimacy, he rejects the idea of sex and music naturally fitting together. His selections span reggae, hip-hop, rock and pop, ending with praise for Sia and noting the release of his new album When It’s Silent.

In a final Guardian interview, Sam Neill reflects on his career, describing his affection for Robin Williams, the practical effects and CGI used in Jurassic Park, and his enjoyment of playing morally troubled villains. He discusses turning down—or potentially accepting—the role of James Bond, the missing darker footage from Event Horizon, his decision to change his first name from Nigel, and his preference for supporting sporting underdogs. Neill also talks candidly about living with cancer, eating freely after years of chemotherapy, his farm animals and New Zealand vineyard, and his hope to produce and taste his first organic chardonnay.

Gary Jarman of The Cribs shares the songs that shaped his life, from childhood memories of The Flying Pickets and a first single by Aztec Camera to karaoke favorite “Tarzan Boy.” He discusses songs he has overplayed, secretly loves, or associates with major emotional moments, including Nirvana’s “In Bloom,” which he says changed his life. His choices range from sentimental and humorous funeral selections to songs connected with Patrick Swayze, family, and the band’s UK tour.

Leah Williamson reflects on the music that has shaped her life, from childhood cassettes of Enrique Iglesias and LeAnn Rimes to her current training‑ground soundtrack. She discusses songs tied to key personal memories, including tracks she can no longer listen to, the football anthems that moved her during major tournaments, and artists who influenced her through live performances. Her playlist highlights range from Luther Vandross and Elvis Presley to Norah Jones and Fred Again, revealing how music connects to her experiences on and off the pitch. England’s next World Cup qualifier is noted, along with her role as a Cadbury ambassador.

Actor Eddie Marsan shares the songs tied to formative memories, insecurity, romance, family and performance. He recalls discovering funk and spiritual music, discloses his fondness for Chas & Dave despite trying to seem erudite, and explains how James Brown helped him dance away self-doubt. Eric Clapton’s “Tears in Heaven” became especially emotional after Marsan had his first child, while Tony Bennett and the Count Basie Orchestra’s “Are You Havin’ Any Fun?” is his choice for a funeral song.

Gloria Gaynor shares the songs that shaped her life, from her mother’s singing and Frankie Lymon’s “Why Do Fools Fall in Love” to her career-changing hit “Never Can Say Goodbye.” She praises Beyoncé’s “Crazy in Love” as an irresistible party song, Marvin Gaye’s “Let’s Get It On” for its sensual groove, and Carrie Underwood’s version of “Great Is Thy Faithfulness” as a source of morning inspiration. Gaynor says “Amazing Grace” remains spiritually powerful, cannot listen to Tavares’s “Heaven Must Be Missing an Angel” because of its association with her former husband, and would want her own song “I Want to See You” played at her funeral. She is scheduled to headline Boogietown in Walton-on-Thames on 11 July.

Gilbert Prousch and George Passmore discuss their long artistic partnership, unconventional lifestyle and continuing commitment to provocative, accessible art. Their new exhibition, Our George Crompton, Worlds and Windows, commemorates a homeless man they welcomed into their studio and reflects their interest in turning everyday life and death into art. The interview also explores their close relationship with street artist Endless, whose work first attracted their attention and who now visits them regularly. Although the trio reject the idea that Endless is inheriting their legacy, he describes learning from their example and carrying their spirit forward through new murals and exhibitions. The artists’ plan to leave their remaining works to the Gilbert & George Centre reinforces their Art for All philosophy.

David Gray shares a personal playlist of formative, emotional and celebratory songs. He recalls discovering Madness as a child, buying the Boomtown Rats’ “I Don’t Like Mondays,” singing along to the Grease soundtrack and performing “Islands in the Stream” at karaoke. Bob Dylan’s “It Ain’t Me Babe” changed his life, while Talk Talk’s “I Believe in You” moves him to tears. For his funeral, Gray wants Madness’s “One Step Beyond” to inspire dancing before Orlando Gibbons’s “Drop, Drop, Slow Tears” brings a more solemn conclusion. His album Nightjar is out, with UK and Ireland dates scheduled for June and July.

Radiohead guitarist Ed O’Brien shares a personal playlist spanning Scottish football, the Smiths, George Michael, LCD Soundsystem, the Police, Bach and Gabriel Fauré. He recalls buying the Smiths’ Hatful of Hollow to impress a girl, karaoke sessions during Radiohead’s OK Computer promotion, and the emotional significance of his new song “Blue Morpho,” inspired by his children’s early years in Brazil. O’Brien says he has grown tired of indie and guitar music, prefers natural sounds during sex, and wants Fauré’s “In Paradisum” played at his funeral.

Members of the Bluetones recall how “Slight Return” developed from Scott Morriss’s guitar progression into a full band arrangement, with Adam Devlin adding guitar parts and a solo, Mark Morriss writing the vocal melodies, and the group incorporating a 1960s-inspired coda. Although the band initially resisted releasing the song as a single because fans had already bought an early demo and because the title does not appear in the lyrics, A&M Records persuaded them. The single unexpectedly entered the charts at No 2 and became a major hit, while its enduring popularity has made it the song audiences most expect to hear live.

Bebe Rexha shares the songs that shaped her musical life, from The Little Mermaid’s “Part of Your World” and childhood purchases by Christina Aguilera and Lady Gaga to karaoke favorites by Etta James and TLC. She discusses the influence of Faithless’s “Insomnia” on her song “New Religion,” avoids Shaed’s “Trampoline” because it recalls an ex, and embraces Bon Jovi’s “Livin’ on a Prayer” despite once dismissing her parents’ music. Adele’s “Easy on Me” currently moves her, while her album Dirty Blonde is due on 12 June.

In a Guardian reader interview, Bob Odenkirk discusses his belief that life is a meaningless farce, the limited power of political satire, and his admiration for Henry Winkler’s kindness. He explains that action roles allow him to channel his inner rage, while reflecting on Saul Goodman’s destructive resentment and Jimmy McGill’s likely return to crime. Odenkirk also talks about his forthcoming album and hiking documentary, memories of working with Bruce Dern, and his interest in Shakespeare. After suffering a heart attack on the set of Better Call Saul in 2021, he continued working but decided to reduce his workload and prioritize a slower, more appreciative life.

Jeff Goldblum shares the songs that shaped his musical life, from the jazz arrangements he preferred over practising Beethoven as a child to Stevie Wonder’s “For Once in My Life,” which was the first single he bought. He discusses party favourites, songs that make him cry, music he cooks to and the performance of “Mona Lisa” with Gregory Porter that led to his record contract. He also highlights his playful version of the Jurassic Park theme and promotes the Mildred Snitzer Orchestra’s forthcoming album Night Blooms and 28 May–30 June tour.

A personal behind-the-scenes profile follows Justin Fletcher, the performer behind Mr Tumble, during filming of Something Special and a later theatre appearance. The programme’s use of Makaton and its focus on children with special educational needs and disabilities have made it influential across generations. Fletcher’s warmth, physical comedy and multiple characters are credited with the show’s appeal, while new presenters Maddie Moate, Ben Cajee and George Webster join the latest series. The piece also highlights the pressures facing families of SEND children in England and the importance of accessible, inclusive broadcasting.