Ellie Goulding admits error over promoting diamonds from controversial Australian mine

Singer-songwriter Ellie Goulding released her sixth studio album, I Know Too Much, yesterday via Polydor Records, and with it comes the focus track “For Your Entertainment.” Of the album, Goulding said, “I Know Too Much was written about love and power, trust and instinct. The stories we tell ourselves about other people, and the stranger ones we tell ourselves.” ​“For Your Entertainment” is the perfect mesh of those themes. It’s a soft, catchy tune with an impassioned chorus. It seems to detail a relationship dynamic where someone loves the other so much as to the point of sacrifice, illustrated by the lines “I jump from a burning building to save you/Choke on the smoke if I get to chase you down/Until I’m chalk on a pavement/Do it all for your entertainment.” Such a fiery determination can only be driven by an intense trust in the person, even if that trust is one-sided and exploited. The pre-chorus of “Oh, I’m a fool for you/What’s a fool to do?” touches on the power aspect Goulding mentioned, as this person seems to acknowledge that their willingness to sacrifice for this other person might be detrimental to them.

There is not one weak sketch in the opener of Ellie White and Natasia Demetriou’s comedy – they will have you weeping tears of laughter. Now in its second series, expect returning characters and new ones. There are lifestyle influencers shopping at Asda; hipsters spending all day in an overpriced trinkets boutique; and Mary Poppins at a gynaecological appointment. It also guest stars Steve Coogan, Sian Clifford and Jamie Demetriou. Hollie RichardsonThe Repair Shop: Beyond the Barn8pm, BBC One This minor variation on the Repair Shop formula continues: the barn is still open but the gang embark on a few road trips. Most notable this time is the Ukrainian tsymbaly (a hammered dulcimer) belonging to a woman from Cornwall. Once it’s been lovingly restored, it’s moving to see it being played. Phil HarrisonPortrait Artist of the Year 20268pm, Sky Arts

Before Ellie White and Natasia Demetriou were mothers, they were mums. In a skit from their 2019 sketch show pilot, the comedy duo play two straight-talking, hygiene-obsessed matriarchs in gilets and camel-toe-accentuating leggings who record lifestyle vlogs from a pristine kitchen while melodramatically referencing the pressures of motherhood. Ever since, the characters have become a core component of the pair’s comic universe, appearing repeatedly in the first proper series of Ellie & Natasia in 2022. Now the mums are back and moving with the times: reviewing various supermarket white breads – all reassuringly “sterile” options – as car-based food influencers for the show’s second outing. But behind the scenes there has been a bigger shift. The last time they wrote these sketches, White and Demetriou were childless; now they each have two kids. Coming up with material this time around was a different experience, says Demetriou. “I now feel quite a lot of empathy for these women,” says White. “Well, I always felt empathy – I do with all our characters – but I especially am now like: it is actually quite hard.” Even the housework obsession has become relatable.

The growing visibility of Rosana Paulino’s work reaches a new chapter with the opening this week of her first solo exhibition in Paris, at Mendes Wood DM’s outpost in the French capital. Titled “Bloom in the Sunlight, Dream in the Moonlight,” the exhibition introduces new plant goddesses into the Afro-botanical pantheon Paulino has been building since 2019 as part of her ongoing series “Senhora das Plantas” (Lady of the Plants), which elevates Black women to the status of goddesses in communion with nature, without implying a romanticized view. The 16 paintings—five on paper and 12 on canvas—take on renewed vitality on a larger scale and via a deeper exploration of color and increasingly ingenious bodily poses.

Plus, a Patti Smith photo show, an massive Anselm Kiefer finds a home, and other art world matters.

TEMPORARY PLEASURE AND THE EPHEMERAL NIGHTCLUBFor most of its history, the nightclub was built on a simple premise: you had to be there. John Leo Gillen was born and raised in a nightclub in the west of Ireland, and came of age just as the nightclub began to disappear. Outside the family business he threw illegal raves, then learned architecture to build temporary club spaces. Temporary Pleasure, the practice he founded, combines the two — the architecture of a club with the emotion of a rave — into a single idea: the ephemeral nightclub. His projects include Choreomania at Horst Arts & Music, Joyride at the Barbican and The Superclub at WeCanDance, and he is the author of Temporary Pleasure: Nightclub Architecture, Design & Culture 1960–Today (Prestel, 2023). designboom speaks with Gillen about time as a design material, the crowd as the show, and why the moments that matter most can’t be captured.‘The nightclub once offered something radical: a moment suspended in time that could only be experienced by those who were lucky enough to be in the right place at the right time,’ Gillen tells designboom.