It's always interesting to see how revolutions in music get folded back into the fabric of the culture that fomented them. Dubstep, which changed club culture so dramatically in the mid-2000s, is now an intrinsic part of that culture from mainstream to margins, and the forms it takes as it beds into these various parts of the ecosystem are manifold. And Jazzsteppa – two Israelis named Gal and their trombones – turn their hands to a fair few of those forms.

Only three years ago, Hofesh Shechter, the Israeli-born, London-based choreographer, made the leap into the big leagues, almost overnight, with his Uprising/In Your Rooms double bill. The following year he produced a "Choreographer’s Cut", a bulked-up version in the Roundhouse, part dance, part gig. 2010’s Political Mother was received with rapture, so what next?

The traditional place for such films is below the radar. A low-budget portrait of an ethnic minority in America which has schlepped round the festivals, Amreeka could just as easily have been cold-shouldered by distributors. It tells of a family of Palestinians redomiciled in the Midwest just as America is invading Iraq and anti-Muslim prejudice infiltrates American streets and classrooms. A good three years after being shot, it would look a bit passé, a story that had missed its moment.

Keren Ann’s new album, 101, might showcase her new-found pop smarts but last night’s hour-and-a-half set ranged through her whole catalogue taking in country-flavoured balladry, early Velvet Underground chugging and introspective singer-songwriting. A single French-language song acknowledged where she first attracted attention. Her American-accented English betrayed little of her Franco-Israeli roots. Truly multinational, her show at the Jazz Café was similarly diverse.

Home truths have a unique power to grab at your entrails and tear at your peace of mind. But so often, in so many families, the truth remains too painful to acknowledge, and togetherness is bought by means of keeping secrets. And, of course, in any family drama worth its salt, those secrets will inevitably come tumbling out. On stage, the effect can be both thrilling and emotionally powerful, as evidenced by Ryan Craig’s excellent new play, which opened last night at the National Theatre.

After writing about a recent survey of French artist Philippe Parreno at the Serpentine Gallery last year, I found myself wondering about his collaboration with the Scottish artist Douglas Gordon. In 2006 the two artists made the acclaimed film Zidane: A 21st Century Portrait, and while Parreno’s skills as a film-maker were pretty evident from that first UK solo exhibition, Gordon’s talents must surely lie elsewhere - that is, outside the frame. Neither technically ambitious nor visually seductive, his films are not even meant to be seen in their entirety, certainly not his 1993 24-hour Psycho, which is simply a frame-by-frame re-presentation of the Hitchcock classic.

They've remade everything else, so what took them so long to get around to Hawaii Five-0? Maybe the exotic Hawaiian locations of JJ Abrams's Lost helped to trigger flashbacks of Steve McGarrett & co, which would explain why Abrams's henchmen Alex Kurtzman and Roberto Orci are co-producers of the new Five-0. And why Daniel Dae Kim, who played Jin in Lost, reappears here as Chin Ho Kelly.

With a script co-written by the Palestinian journalist Rula Jebreal, based on her 2004 book of the same title, Miral follows the interconnected lives of four women caught up in the Arab-Israeli conflict. It’s a sprawling, epic affair, directed by the New York painter turned film-maker Julian Schnabel.

The renaissance enjoyed by Leonard Cohen over the past few years is not only thoroughly welcome and entirely justified, but also partly a testament to the strange and powerful alchemy that sometimes occurs when the defiantly high-brow is swallowed whole by popular culture.

How do young modern choreographers engage with their audience? With references from the street - motion that the audience knows and recognises? With musical expressiveness? With the development of a technical style that has a language of its own? How about with an instinct, a yearning to entertain? Surely not!