The Welsh seaside resort has already seen a fall in offending and drug use, now a £20m investment and a fresh approach to building job skills is bringing new opportunities for under-25s

Killing time playing pool at the West Rhyl youth club, friends Sienna, 19, and Jake, 26, are unanimous when asked what a tour of the north Wales seaside town should look like. “The first place I’d show anyone is ‘Crackhead Circle’,” Sienna says.

The small public garden behind the town hall and a paved area by the closed home bargain store Wilko in the adjacent high street host several strung-out characters on a cold February afternoon. Police cars crawl through the area every 15 minutes or so as part of Project Renew, a year-long crackdown on gang activity and drugs.

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Crab pasta done (mostly) the River Cafe way, with an ‘electric sauce’ of olive oil, red chilli, parsley, garlic and lemon

My copy of the River Cafe Cookbook is silver, having lost its original blue sleeve some years ago. Naked, the hardback cover is completely plain, so it is my handwriting of “River Cafe blue” along the metallic spine, even though there is little chance of mixing it up with the yellow softback River Cafe Cookbook Two or the emerald cover of River Cafe Cookbook Green .

Blue was first published in 1996, a sobering fact, because that’s the same year I enrolled at the Drama Centre London, as well as the year when Pierce Brosnan took on rogue agent Alec Trevelyan (played by Sean Bean) in GoldenEye . That was Brosnan’s debut as James Bond and Dame Judi Dench’s first appearance as M. Brosnan trained at Drama Centre between 1973 and 1976, which is why, when I bought the blue book in 1996, I had good reason to imagine my future career as looking a little like that of Pierce, or Judi, or both.

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Elusive nightingale ‘doing well’ at Northward Hill, Kent, but experts cite concerns around loss of habitat

The dawn chorus at RSPB Northward Hill in Kent is a riot of sound: the melodic robin, the two-tone cuckoo, the whitethroat’s scratchy warble. Even the garbling geese and mooing cows from the neighbouring Thames marshes add to the symphony.

But in late April one energetic singer hogs the limelight. For a few weeks after arriving from West Africa, the nightingale spends the night – and early morning – in complex song. As it searches for a mate and marks its territory, its song is at times as sweet and tuneful as a soul singer, at others as frantic as a car alarm.

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Learn Cornish launched few months after language given new level of protection

Listeners tuning in to the BBC’s latest podcast offering on Friday may find themselves saying dydh da to a language that is enjoying something of a resurgence. The new programme called Learn Cornish will be fronted by the Radio 1 host Danni Diston and includes guests such as the Bafta-winning director Mark Jenkin.

Diston, who is from north Cornwall, said that she initially did not know any Cornish “other than small words that I’ve learned growing up and mainly dialect … [but] the idea would be to learn alongside other people”. She will be joined by co-presenter Sarah Buck, a fluent Kernewek speaker, throughout the weekly episodes that are designed to introduce basic phrases in the Cornish language.

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Musician and his wife, a creative consultant, hope the Hodge Podge can expand ideas of creativity and community

A new exhibition curated by Jarvis Cocker and his wife, the creative consultant Kim Sion, will open at Hepworth Wakefield next year, aiming to encourage people to discover their own creativity.

Opening in May 2027, the Hodge Podge will bring together a personal selection of works challenging conventional ideas of what art can be.

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Madeleine Finlay sits down with co-host and Guardian science editor Ian Sample to talk through three eye-catching stories from the week, including the news that the number of years people in the UK are spending in good health has declined compared with a decade ago. Also on the agenda is the science, tech and nutrition behind two runners at this weekend’s London marathon breaking the two-hour threshold, and an answer to why some old houses feel particularly spooky

People in UK spend fewer years in good health than a decade ago, study finds

Spooky feelings in old houses may be caused by boiler sounds, study suggests

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In 1980, two US airmen reported an extraordinary encounter near a military base in the east of England. What really happened?

In 1996, Nick Pope wrote his first book. Open Skies, Closed Minds was a semi-autobiographical examination of well-known UFO cases mixed with his own research. Pope worked at the UK Ministry of Defence for more than two decades, from 1985 to 2006. For three of those years – 1991 to 1994 – he worked on what was known colloquially in the department as “the UFO desk”. The desk’s official name, the Secretariat (Air Staff ) Sec (AS) 2a, was responsible for assessing the defence significance of reported UFO sightings.

To promote the book, Pope appeared on BBC Newsnight. The UK’s flagship news programme was famous for its adversarial interviews that left even the most formidable politicians and intellectuals looking like startled deer. Given the subject matter and the platform, this could have gone horribly wrong, but Pope held his own. “I wasn’t nervous, probably because I’d been media-trained by the MoD,” he says. “The irony was that when I was posted to the UFO desk, I occasionally had to go on television in my role as the department’s subject-matter expert and play down both the phenomena and the true extent of our interest and involvement in the subject.” His interrogator that night was Peter Snow. “What do you believe now that you didn’t believe five years ago?” Snow began.

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He painted sea battles, the labours of Hercules and breathtaking still lifes. But, as a major new exhibition makes clear, it was in his thrilling depictions of the spiritual that the Spanish master showed his true genius

Against an impenetrable black ground, the crucified figure looms pale and shining. There’s almost no colour, beyond the trickle of blood on Christ’s feet from the nails driven through his flesh. His head slumps, and his carefully modelled face is at peace (no agony here). But the most striking part of the picture is surely the loincloth, which folds and crumples and bunches around his midriff – you can imagine passing your hand over it, feeling the linen’s volume and texture. In its original home, the monastery of San Pablo el Real in Seville, the painting was displayed with “little light”, according to the 17th-century Spanish artist and writer, Antonio Palomino. “Everyone who sees it, and does not know it, believes it to be a sculpture.” The paleness of the body, the fabric, must have loomed out of the dark like a vision.

Francisco de Zurbarán, who painted this solitary crucified Christ, is one of the three great artists of the Spanish 17th century. But, unlike his peers Velázquez and Murillo, he has never had a show to himself in the UK – until now, as his work forms the basis of a major exhibition about to open at the National Gallery in London. Compared with his precise contemporary and friend Velázquez (born in 1599, a year after Zurbarán), his work can seem stilled, becalmed. You can see the contrast clearly, in works commemorating Spanish military success that each of them were commissioned to paint for Philip IV of Spain’s new palace, the Palacio del Buen Retiro. Both are now in the Prado. Zurbarán’s The Defence of Cádiz Against the English has the quality of a frieze, as the Spanish generals look down serenely at the sea battle below. Velázquez’s The Surrender of Breda is all drama, encounter: a quicksilver painting that captures time as it flees.

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Once the Madrid museum’s biggest draw, The Year of the Famine in Madrid fell out of favour for political and aesthetic reasons

No trip to the Prado these days is complete without a visit to room 12 of the Madrid museum, where Diego Velázquez, a five-year-old princess and a sleepy mastiff stare down from the enormous canvas of Las Meninas .

Two hundred years ago, however, the must-see exhibit at the newly established museum was not Las Meninas, but a gigantic allegorical work that sought to remind Spaniards of their heroic resistance to the Napoleonic occupation and their loyalty to King Ferdinand VII.

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