SMF Thailand.

Laverton is the kind of outback town you might expect at the end of an epic desert road trip, not at the start of one. Marooned on the edge of Australia's two largest deserts – the Victoria and the Great Sandy – Laverton felt like the last outpost of frontier civilisation, a 12-hour drive from Perth, five hours from already-remote Kalgoorlie.

Whenever a road train rumbled through town, Laverton rouses into life. Otherwise, it is eerily, gloriously quiet. Tarmac roads disappear beneath the red sand long before they reach the town's outskirts. When the wind picks up, the sand turns to dust and blankets the town with a fine, coppery sheen. After the dust settles, when darkness falls, the stars come out, more stars than seem possible.

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During my first weekend at my new apartment in Mumbai, I visited a local farmers market where I filled a basket with vegetables and spices. At the end of the line, I added a carton of eggs but didn't have exact change for the vendor. He told me not to worry and to take them for free – I could just pay him back next week. His immediate trust surprised me, as did the unexpected sense of connection I had with a stranger, and his act of kindness made me a regular customer.

In India, there's a cultural concept called paisa vasool that roughly translates to "value for money". Paisa vasool, which reflects the local lifestyle of finding value in everything we have and making the most of every interaction, is often understood in financial terms. It describes how we can maximise the money we have already spent, from the satisfaction of enjoying the free breakfast at a hotel to the resourcefulness of adding water to shampoo so it lasts longer. It's not about how much we pay for something, but instead how much we get out of it.

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This is no ordinary Hitchcock documentary. It's written and directed by Mark Cousins, the maker of The Story of Film: An Odyssey, and his approach is to examine six themes that run through the Master of Suspense's thrillers. The boldest part, though, is that the documentary is narrated by Hitchcock himself – or so it seems: Cousins wrote a script from the director's perspective, and impressionist Alistair McGowan read it in a voice which is uncannily close to the real thing. "Even if you've seen all the clips and heard many of the stories before, the new film is refreshing, even bracing, due to Cousins' deep knowledge of his subject and the clever way he devised to allow the audience to bask anew in deep-dish Hitchcockiana

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Playing the song is a new tradition on the school's campus; it only became possible in recent years after the bell received upgrades to its system. However, the song, officially titled Lift Every Voice and Sing, has possessed the hearts of black people around the globe for over a century, speaking to the enduring faith and resilience of black Americans against racial oppression in the United States.

Lift Every Voice and Sing is a hopeful song, but the wounds of American chattel slavery were still fresh when it was written
When he wrote it in 1900, the scholar and poet James Weldon Johnson did not set out to create a cultural phenomenon. That year, a group of men in Jacksonville, Florida wanted to honour former US President Abraham Lincoln with a birthday celebration. Johnson's contribution was a poem he asked his younger brother, John Rosamond Johnson, to write the accompanying score. When it was complete, James taught the song's lyrics to a choir of 500 black children, all students at the segregated school he was the principal of at the time. On the day of the event, the brothers brought printed copies of the words to share with the community so others could sing along. "The lines of this song repay me in an elation, almost of exquisite anguish," wrote James in an excerpt from a 1935 collection of poems.

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