She is the Sex Education star now stealing the show in Mike White’s hit series and about to appear in a gritty new Netflix drama. It’s all she ever wanted – but somehow, this ‘sad and shy’ actor finds folding the washing more rewarding than fame

Aimee Lou Wood has a peculiar habit of losing herself. She is known among her fellow cast members for capsizing so completely into a role that they can’t tell who they’re talking to: Wood or her character. (This probably wasn’t helped by the fact that her standout debut role in Sex Education was also called Aimee.) Suranne Jones, who plays alongside her in forthcoming dramedy Film Club, even bought her a bag with a big A on it: “And she said to me,” Wood says, “‘You can put things in there, and that’s Aimee’s bag, so you don’t lose who you are.’ My imagination and my reality can get scarily blurred.”

Wood has been searching for more clarity recently. “I’ve noticed more and more that I’m thinking: what do I actually want? Where can I be the driver and not the passenger?” I meet the 30-year-old in a kind of yoga-adjacent cafe in London. She’s got a Shelley Duvall thing going on, where you can’t tell whether her face – wide open eyes like a Disney fawn, tentative smile – is what makes her seem honest yet mysterious, or whether those qualities created her face. Either way, she looks both very film star, in leather blazer, Dr Martens and miniskirt, yet also not out of place in this hippyish restaurant.

Campaigners say if government can find money to freeze fuel duty for motorists they can do similar for railways

Rail passengers in England and Wales face a steep increase in the cost of travel from Sunday, with fares rising by 4.6% and most railcards going up by £5.

The government said the rise is needed because of the dire financial state of the railway, but transport campaigners contrasted it with Labour prolonging the freeze on fuel duty for motorists.

The Oz-set blockbuster, plus the Inside Out and Dune sequels, packed out cinemas but won’t win best picture at Sunday’s Academy Awards

Box-office success is a strong indicator of Oscars failure at this year’s Academy Awards, with the two highest-grossing best picture nominees among those titles least likely to win.

Wicked and Dune: Part Two have both made more than $700m globally, but neither is tipped – by anyone – to pick up the top prize on Sunday in Hollywood. Wicked, Jon M Chu’s first half of his adaptation of the Broadway musical, is currently on $728m, from an estimated $150m production budget.

With this grisly yet witty thriller, Lawrance’s Millie instantly joins the ranks of greatest ever TV cops

Marlon James doesn’t just tell stories; he creates entire worlds. The professor and Booker prize-winning author’s look at the attempted assassination of Bob Marley in 1976 Jamaica, A Brief History of Seven Killings, took in everything from the crack wars of New York City to the political schisms of Cuba. Black Leopard, Red Wolf – the opening volume of his prehistoric African fantasy series, which is being adapted for the screen by Michael B Jordan – creates a landscape that feels like Conan the Barbarian viewed through the prism of ancient African mysticism. His work always depicts complex ecosystems operating on cursed topographies.

Now, he has turned his talents to a new genre: mystery. Get Millie Black (Wednesday 5 March, 9pm, Channel 4), his first foray into television, is a detective tale in which the titular police officer tracks down a missing schoolgirl. On the surface it’s a grisly, witty thriller – but it’s also so much more. Millie (Tamara Lawrance) returns to Jamaica after years living in London, only to discover that the dehumanisation and exploitation of Black bodies didn’t end with the slave trade; it just evolved. The more she investigates young Janet’s (Shernet Swearine) disappearance, the more she realises it is only the tip of a corrupt iceberg that reaches across race, class and international borders. Her investigation ends up catching the attention of ambitious Scotland Yard Supt Luke Holborn (Joe Dempsie), whose interference in the case becomes another albatross round Millie’s neck. It’s a transfixing testimony to how colonialism still breeds violence on both sides of the Atlantic, an elegantly told tale that walks the tightrope between pulpy action and unflinching intergenerational trauma.

Welsh crime drama The One That Got Away is an addictive watch with a hotshot lead. Plus, Sabrina Carpenter will dazzle the stage at the 2025 Brits. Here’s what to watch this evening

9pm, BBC Four
This knotty Welsh crime drama opens with a nurse heading for a romantic weekend in Paris. She is later found dead in the woods, with a heart-knot carved into a nearby tree. Enter your new favourite no-nonsense detective: Ffion Lloyd (Elen Rhys). The hotshot is called back from Cardiff to team up with ex-partner (and lover!) DS Rick Sheldon (Richard Harrington), and the pair wonder if, based on a previous murder they solved, there is a copycat killer on the loose. Hollie Richardson