The first time I interviewed Marc Almond back in the late 1980s he had a pet snake with him, just one of the many things that sets him apart from today's stars. These days the only reptiles one sees around chart-toppers are the publicists. Almond has been part of the pop furniture for three decades but it was still something of a surprise to discover that he was celebrating his 55th birthday last night. Tempus fugit and all that. Or as the still-nimble black-clad crooner said to his mostly similarly-aged audience, "we are all in it together, dear".

The Searchers: Hearts in Their Eyes

Kieron Tyler

Scissor Sisters’ breakout cover of Pink Floyd’s “Comfortably Numb” was so downright preposterous it looked likely to doom the New Yorkers to one-hit wonder status; it’s the kind of balls-out release that comes along only very infrequently. Thankfully for everyone, however, they’ve gone on to become one of our most treasured pop acts - headlining arena tours in the UK, enjoying life at the top of the charts and attracting fans from across the board.

The poet Henry Wadsworth Longfellow once wrote, “It is difficult to know at what moment love begins; it is less difficult to know that it has begun.” Andrew Haigh’s superb second feature may or may not give us the precise moment but it certainly does capture the thrill of forging a soulful connection, alongside the apprehension and difficulty of allowing oneself to fall. In Weekend, the focal romance is shown to be both ordinary and extraordinary as it rises from the ashes of a one-night stand.

On the face of it, a low-budget French film featuring the story of a pre-pubescent girl who pretends to be a boy promises little more than an off-centre tale of gender envy. Hardly edge-of-your-seat stuff, but Céline Sciamma’s second feature is lifted way beyond the run-of-the-mill by extraordinary performances, a daring but totally accomplished formal simplicity and a script that generates as much tension as the best Hitchcock thriller.

For those unfamiliar with his work, Stephin Merritt is like a modern-day Cole Porter: prolific, highly camp, and with a genius for beautifully crafted witty three-minute songs. He performs with the 6ths, The Gothic Archies, Future Bible Heroes as well under his own name. However it is with The Magnetic Fields that he has achieved greatest recognition.

The advent of AIDS tore through San Francisco’s Castro district, the heart of the city’s gay community, with the same ferocity as Hurricane Katrina hitting New Orleans’s Ninth Ward. Obviously there were differences - buildings and infrastructure remained intact and this was a slow-motion disaster that unfolded over years as opposed to days - but a devastated community reeling from loss was similarly left abandoned by indifferent authorities and so forced to fall back on its own resources to cope and rebuild.

At Thanksgiving in 1999, a 75-year-old retired widowed museum director came out to his family. He had only recently been widowed after a marriage lasting more than four decades. One of the people to whom he broke the news was his son Mike Mills, then in his early thirties and not yet a film director. This year the movie inspired by that moment was released, and it now appears on DVD.

Nearly 20 years have whizzed by since Jonathan Harvey, then a 24-year-old comprehensive school teacher, wrote a play in the school holidays – and caused a stir. That play was Beautiful Thing, dealing with the then (and now?) contentious issue of two 16-year-old schoolboys, next-flat neighbours in the high-rise south-east London council estate of Thamesmead, who fall in love – and overcome prejudices and obstacles, not least their own self-realisation.