Sergei Filin, one of the Bolshoi Ballet’s recent male stars, has been appointed as the new artistic director of the massive Russian company on a five-year contract. The appointment brings to a swift culmination a terrible week for the Bolshoi, where their second-in-command resigned after compromising sexual images were released onto the internet, just as the previous artistic director, Yuri Burlaka, had had his contract terminated. See theartsdesk report earlier this week.

Arnaud Fleurent-Didier’s La Reproduction was one of the most striking albums of last year. The news that he and his band are playing the UK for the first time next week at the Institut Français is exciting as La Reproduction was more than great musically. It was also a cultural benchmark, putting the Mai 68 generation under the microscope and taking them to task for being inward-looking – they made great mayonnaise at the expense of paying attention to their kids.

The Bolshoi Ballet's company manager, Gennady Yanin, has resigned after pornographic pictures appeared on the internet that were linked to him, just as he was being considered to take on the job of artistic director, which became vacant that day. As a result the world's largest ballet company is now leaderless, with an inexperienced dancer appointed to hold the fort.  SEE LATEST NEWS: Sergei Filin appointed artistic director for five years

The Sundance Film Festival: you have to pack moonboots, parker and thermals. The showcase for independent films, whose public face since its inception in 1978 has been Robert Redford, takes place each January in Utah. In April of next year it is setting up a new branch in the moonboot-free environment of the 02 Arena in London.

One of the great adventures of the 20th century is the story of LSD. A warped, unlikely slice of history not taught in schools, it has flavoured many aspects of life to this day. The countercultural explosion of the Sixties influenced the broader Western world - art, music, politics, religion, social issues and much more - and at its vanguard were key figures who believed that enlightenment might be found through the use of psychedelic drugs. These utopian mavericks were from all sorts of different backgrounds and they wanted nothing less than to turn society completely on its head, to change its value system.

The Andrew Lloyd Webber musical Love Never Dies emerged empty-handed at the 35th Laurence Olivier Awards, despite seven nominations, but it was a good night for Legally Blonde, Stephen Sondheim, and, so it seemed, pretty well any production lucky enough to play the National's Lyttelton auditorium. And for American playwriting, too, with Clybourne Park following last year's The Mountaintop as a States-side effort that was named Best Play Sunday night at London's equivalent of the Tony Awards.

Damien Hirst is finally getting his first UK retrospective in a public gallery next year, but the question seems to be, “Why now?” It seems both far too late and far too early, especially since Hirst has made no significant work in some years. That the Tate is organising it to coincide with the year of the Olympics, will, of course, be good for them: it will almost certainly see an unprecedented number of visitors, and tourists from around the world will flock to see it.

The tiny theatre where the Oscar-vanquishing film The King’s Speech was spotted as a potential film project is working on a new script with the play’s author, and the film’s Oscar-winning scriptwriter, David Seidler.

The White Stripes may have just announced their retirement but theartsdesk can report that the boy/girl two piece is still alive and well in the form of She Keeps Bees, a Brooklyn-based band currently on a mini-tour around Britain and Europe. Here it’s the girl, Jess Larrabee on guitar, and boy, Andy LaPlant on drums. The sound is superficially similar to The White Stripes with Larrabee delivering gutsy blues rock guitar, but vocally she sounds more like PJ Harvey stranded in Tennessee during a full moon. The soon-to-be-released sophomore album, Dig On, was self-recorded in a log cabin in upstate New York, and during a sound check for their warm-up gig at The Windmill, Brixton, the pair told theartsdesk how they came to record it.