Every installation in the ongoing 28 Days Later post-apocalyptic horror film series has been different (for me, the original still holds the top spot), and the latest, from director Nia DaCosta, is no exception. There are some highs and lows, some questionable plot developments (no spoilers, but I do think that you can't really undo zombification with antipsychotics), and some borderline gratuitous gore, but honestly, who cares: Ralph Fiennes is, as always, a tour de force, at once camp and sentimental, funny and sage, irresistible (he should wear eyeliner more often); and it's great to see Jack O'Connell back in the swing as Lord Jimmy Crystal. (No one has explained his Jimmy Savile aesthetic, which I assume is not an accident, but I don't think you're supposed to ask deep questions of genre films.) The end of the film also indicates it might just be another beginning…

Emily LaBarge, Nerve art critic

An absolutely lovely hour-long audio documentary portrait of singer-songwriter Marianne Faithfull. As reporter Jude Rogers points out at the start of the show, the stereotype of 60s/70s wild child followed Marianne right to the death, with one broadsheet obituary calling her a "woman with a self-destructive streak". Building the show around excerpts of a recorded interview at the musician's Paris apartment in 2018, Rogers speaks to collaborators, family members and friends including Sally Oldfield (sister of Mike), who went to school with Marianne, to tell the life story of a fiercely intelligent and singular woman.

Sarah Donaldson, Nerve co-founder

When Wayne McGregor first brought Virginia Woolf’s genre-defying literary voice to the stage of the Royal Opera House in 2015, in his first full-length ballet, it was hailed as a hugely ambitious breakthrough. Now, returning for its second revival, it already seems like a classic, albeit of the most exhilarating and utterly contemporary kind. Based on three of Woolf’s most loved works, Mrs Dalloway, Orlando and The Waves, the ballet doesn’t just capture the essence of the novels - and their author - it somehow feels as poignant and transformative as reading them, too. Astonishingly graceful and powerful at the age of 45, Sarah Lamb was transfixing as Woolf in the production I saw (Natalia Osipova, Marianela Nunez and Lauren Cuthbertson also play the lead during the run) and the entire company is superb. Max Richter’s acclaimed and emotive score is a crucial part of the whole, perfectly capturing the changing moods of each piece.

Lisa O’Kelly, contributing writer

Strap in for the latest instalment of the high octane investment banker drama, which is back with a fourth season that's darker, meaner and filthier than ever. Returning cast members Myha'la, Marisa Abela, Ken Leung and Kit Harington continue their Machiavellian scheming and plotting; Rob and Gus are out, making way for a host of new characters, including Kiernan Shipka (formerly Sally Draper in Mad Men) and the team behind disruptive new bank Tender, eager to distance themselves from early investments in lascivious internet companies such as OnlyFans rival Siren. New episodes drop on Mondays.

Kathryn Bromwich, writer

Think Oscar-winner Parasite meets Ealing Comedy Kind Hearts and Coronets: the latest from Park Chan-wook, No Other Choice is a delectably dark comedy-thriller about status anxiety in South Korea. Lee Byung-hun stars as a family man and corporate stiff who responds to his redundancy with a meticulously planned campaign of homicidal violence. And who’s to say, in his position, you wouldn’t do the same?

Ellen E Jones, Nerve film critic

The prolific German artist Joseph Beuys (1921-1986) saw sculpture as a vehicle for individual and collective warmth and transformation - something very important in the Germany he came of age in. The first room of this beautiful and timely show hosts a wonderful selection of Andy Warhol portraits of Beuys in his ubiquitous trilby - in case you don’t remember what he looks like. The show itself is built around Bathtub (1961-87), on view in the UK for the first time. Cast from bronze, lead and copper, this monumental piece doesn’t exactly invite you to jump in. Alongside are some of its key precursors, related sculptures and intricate pencil drawings scribbled on the back of envelopes, hotel notepad pages and torn paper. They reveal Beuys’s workings. They show the strong women he saw as our saviours - the heroines of the exhibition’s title who ultimately drive this so-called collective transformation.

While at the gallery, be sure to go upstairs to see a concurrent show of Constantin Brancusi’s beautiful photographs of his own sculptures - he didn’t trust anyone else to photograph them - and also an incredible 2021 painting by Anselm Kiefer where the paint is so thick you question whether it has even dried yet.

Susan Ferguson, Nerve events

THEATRE
The Ladies Football Club 
(Sheffield Crucible, 28 February - 28 March)

Sheffield Theatres artistic director Elizabeth Newman directs the world premiere of a new play by Stefano Massini, the writer of hit show The Lehman Trilogy, adapted by Tim Firth, about a group of female factory workers in Sheffield during the first world war who form a women’s soccer team. Frantic Assembly’s Scott Graham choreographs.

BOOKS
An Evening with Kae Tempest
(Bristol, 26 April; Manchester, 28 April; Brighton, 1 May)

The author, musician and poet live on stage discussing, and reading from, his first novel in a decade, Having Spent Life Seeking.

THEATRE
Springwood, Hampstead Theatre, London
(19 June - 25 July)

Actor, presenter, author, screen director and cocktail maker par excellence Stanley Tucci makes his London stage directing debut with a new play by Richard Nelson about a pivotal meeting in 1939 between King George VI and President Roosevelt.