Marking Pearl Jam's two decades together, long-time fan and ex-Rolling Stone writer Cameron Crowe has assembled the two-hour documentary Pearl Jam Twenty, due for an airing on BBC Four this Friday (11 November). It's a project which he's had in mind for years, and the effort which has gone into it is obvious from the amazing range and variety of footage, most of it previously unseen. Every phase of the band's career, and even pre-career, is covered, going back to their roots in mid-Eighties Seattle before anybody had heard of "grunge".

In TV's seasonal rush of Spooks, Downton etc, we must also hail the sterling (if gruesome) work going on at the FX channel. Alongside series two of The Walking Dead, they've thrown in the additional delights of gory French cop thriller Braquo and, last night, we saw the debut of the weird and scary American Horror Story.

Not only was Channel 4's Top Boy a brilliant slice of TV drama, but it delivered a neat little pay-off over the closing credits with Charles Bradley's track "The World (Is Going Up in Flames)".  An anguished chunk of classic soul, sung by Bradley in a gutsy James Brown-style rasp, it sounded at least 40 years old, but in fact it was only released in 2007 on Daptone Records' subsidiary, Dunham.

The 2012 Cultural Olympiad has been announced and events will take place throughout the UK from 21 June until the last day of the Paralympics, 9 September. Ruth Mackenzie, director of the Cultural Olympiad, said that many events would be free, and that “the festival will offer a once-in-a-lifetime chance to be inspired by the best in the world”. Events will range across the arts, from music, dance, theatre, opera and film to literature, the visual arts and fashion, and some will include a chance for arts fans to participate in the creation of an artwork.

Earlier this week Pete Townshend asked whether “John Peelism”, the ethos of supporting and celebrating small, independent artists at a grass-roots level, could survive the internet. His implied answer was clearly "no". Townshend levelled the accusation that Apple, the owner of iTunes, is “a digital vampire Northern Rock” which doesn’t support or invest in the musicians whose work they sell, particularly the more independently minded ones, but rather sucks them dry before moving on.

Port Talbot’s staging of The Passion with Michael Sheen won the highest accolade at the Theatre Management Association Awards yesterday, which honour the best of work touring Britain beyond London during the 2010-11 season.

As great changes happen in the British arts economy, what lies ahead for dance? What are the questions to ask about what we will watch in future, what we will create for others to see, what we will perform, what we will pay for?

There’s a lot of Soviet art about at the moment – the excellent show that opens this Saturday at the Royal Academy has Constructivist and Suprematist paintings and drawings loaned by the George Costakis Collection in Thessaloniki. Now, at Annely Juda, a smaller, but no less excellent, show highlights one single Malevich painting, Black Square (main picture, above), a tiny gem of the early 20th century, also from the Costakis Collection, together with a series of Malevich’s working drawings.

New Order’s “Blue Monday” might be the bestselling 12” single ever. It might not be. Either way, Factory Records released it on the 12” format only and it was given dry runs by club DJs. Although Factory had an overriding visual aesthetic, it was a wilful label with little musical coherence and no set way of doing things. Dance music, though, was central to Factory, and the new compilation Fac.Dance celebrates that in a way that was impossible in the scattershot Eighties.

It’s a shame that Joseph Steele’s BIBLE didn’t come a week later. Halloween would have been a far better backdrop to the haphazard heathenism that the evening entailed.