Annual bird survey suggests ‘particularly bad’ autumn on key migration route through city’s brightly lit skyscrapers

As fall bird migration nears its end in New York City, a troubling trend may be emerging: preliminary evidence suggest that more avians collided with buildings this season compared with last autumn.

NYC Bird Alliance surveys suggest that collisions are up citywide and that it has proved to be a “particularly bad” autumn for collisions. While spring 2024 showed fewer collisions than in 2023, about 60-75% of such accidents occur during fall migration , which peaks from early September to October.

Crucial question for summit will be how to help developing countries cope with extreme weather caused by high temperatures

Cop29 officially opens on Monday 11 November in Baku, Azerbaijan, and the conference is scheduled to end on 22 November, although it is likely to run later. World leaders – about 100 have said they will turn up – are expected in the first three days, and after that the crunch negotiations will be carried on by their representatives, mostly environment ministers or other high-ranking officials.

The crucial question for the summit is climate finance . Developing countries want assurances that trillions will flow to them in the next decade to help them cut greenhouse gas emissions in line with the rapidly receding hope of limiting global heating to 1.5C above preindustrial levels, and to enable them to cope with the increasingly evident extreme weather that rising temperatures are driving.

• WSL updates from the 12.30pm GMT kick-off in St Helens
• Johanna Rytting Kaneryd interview | And email Emillia

Liverpool starting XI: Rachael Laws; Jenna Clark, Gemma Bonner, Gemma Evans; Taylor Hinds (C), Grace Fisk, Jasmine Matthews, Ceri Holland, Marie Höbinger; Olivia Smith, Leanne Kiernan. Substitutes: Teagan Micah, Eva Spencer, Niamh Fahey, Cornelia Kapocs, Mia Enderby, Yana Daniëls, Hannah Silcock, Zara Shaw.

Chelsea starting XI: Hannah Hampton; Lucy Bronze, Millie Bright (C), Kadeisha Buchanan, Sandy Baltimore; Sjoeke Nüsken, Erin Cuthbert, Guro Reiten; Maika Hamano, Johanna Rytting Kaneryd, Mayra Ramírez. Substitutes: Zećira Mušović, Aggie Beever-Jones, Maelys Mpome, Wieke Kaptein, Ève Périsset, Ashley Lawrence, Oriane Jean-François, Catarina Macario, Nathalie Björn.

Lifesize hologram of Betty Szabó in red light district is intended to jog memories and help find 19-year-old’s killer

Cold-case detectives in the Netherlands are hoping that an innovative lifesize hologram of a young sex worker who was murdered in Amsterdam 15 years ago will jog people’s memories and help bring her killer, or killers, to justice.

Bernadett Szabó, known as Betty, was born in Hungary and left for Amsterdam when she was 18. Once there, she started earning money as a sex worker in the red light district. She continued to work after becoming pregnant and gave birth to a son who was placed with a foster family.

Morgan Neville’s novel animated documentary, featuring interviews with the US musician, captures his artistic process, if not the whole story…

A documentary portrait of the American music producer and fashion impresario Pharrell Williams, told through the medium of Lego block animation. What at first seems like a quirky gimmick actually works rather well. It’s a fun watch, and the technique allows film-maker Morgan Neville to visually represent Williams’s form of synaesthesia, which turns music into colours, and to explore his musical process in a suitably playful and creative manner.

The cynical may observe that the medium also allows Williams to build a Lego brick wall between Neville and the parts of his life and career that his subject would prefer not to discuss, so don’t go into this expecting anything other than a shiny plastic hagiography.

In UK and Irish cinemas

Tanya Moiseiwitsch Playhouse, Sheffield
Holden and Ed Stambollouian’s one-man drama based on a real-life murder in 80s America uses film tropes to great effect – but it plays with the facts too

Two wrongs don’t make a right, or do they? Ken Rex McElroy was “the town bully”, the things he did, or is said to have done, were bad: arson, assault, cruelty to animals, statutory rape, theft. On 10 July 1981 he was shot dead in his pickup in the presence of dozens of townsfolk. No one has ever been charged with his murder.

Subtitled “A True Crime Thriller”, this new play, set in the American midwest, is based on actual events and real people. How “true” it is to either is questionable. Co-writers Jack Holden, who performs all onstage roles, of which there are least 11, and Ed Stambollouian, who directs, say they have “changed or imagined” facts “for dramatic purposes”. The distinction between dramatic licence and misrepresentation, always fine, here feels blurred.

Kenrex is at the Tanya Moiseiwitsch Playhouse, Sheffield, until 16 November

Garth Greenwell’s new novel gets as close as one can to evoking the very real indignity and physicality of being in hospital

Every now and then I try to write down a description of pain, whether labour, tooth or head, and it becomes a frustrating little game in which nobody ever wins. Doctors try to quantify our pain by asking us to rate it on a scale of one to 10, or by pointing at a variety of sad faces – the McGill Pain Questionnaire consists of 78 possible words to tick, which include “tugging”, “terrifying” and “dull”, words that gamely poke around inside a feeling, but rarely fully land. Often, I wonder if there are some states, like pain, that just defy description – occasionally you think you have it and then the image turns in on itself and loops around and it’s lost – but then I read something like Garth Greenwell’s new novel Small Rain , which begins with our narrator bent double with a twisting pain in his gut. Not only does Greenwell uncover a new language for his narrator’s pain, which mutates in gradations of crisis, but also a language for the beeping, chilly intimacy of a hospital stay, and its terrible wires and humans reaching.

We have all or will all find ourselves here one day, in a raised bed on a humming ward, in the care of scrubbed-up strangers. I have vivid memories of a hospital room with a clock whose minute hand didn’t tick – instead, it slithered without clear rhythm between numbers, very sinister, very unsettling, especially at night when the lights stayed on and you watched it crawl forward towards dawn. In these places you do all you can to remain human by holding on to comfortable things, such as shame or status, for as long as possible, until a brisk nurse perhaps washes your hands for you, or a handsome doctor pokes his pen into the blood clot you present in its clean metal dish.

• Czech responds to comments made on Tennis Channel
• ‘I believe it’s time to address the need for respect’

Barbora Krejcikova has criticised “unprofessional commentary” regarding her appearance on the US TV network Tennis Channel.

The Wimbledon champion was taking part in the WTA Finals in Saudi Arabia this week, the culmination to the regular women’s season, where she lost to Zheng Qinwen in the semi-finals on Friday.

In this republished novella from 2000 about a fisherman and his son, the Norwegian writer captures the puzzlement and wonder of the human condition

Few writers working today capture the liminality of life as viscerally as the Norwegian 2023 Nobel prize winner Jon Fosse, and in Morning and Evening , his newly republished 2000 novella (elegantly translated by Damion Searls), we follow one person’s passage from womb to Earth, and from Earth to the afterlife, in a near seamless progression. This, then, is not a novel that describes a life; it is a fable about the very beginning and end of a life – a metaphysical ghost story.

The two-part book opens with a woman delivering her second child in a house on the island of Holmen. Olai, the father whose perspective we inhabit, waits anxiously in the kitchen. Could both baby and mother die? No, “God surely doesn’t want that”, but then Olai has “never doubted that Satan rules this world as much as the good Lord does”. As in his seven-volume masterpiece Septology (2019), Fosse’s prose is suffused with mysticism, and a more personal and nuanced theism. There was no doubt in Olai’s mind that God exists, but he “has never fully believed that He is all-powerful and all-knowing like they say, the pious people”. The good Lord does not rule all and decide everything. On that day, however, He prevails. The mother survives. The child comes into the world alive and healthy. Olai names him Johannes, after his father, and decides that he will be a fisherman like himself.