If good intentions were everything, Teenage Dick would be the play of the year. As it is, this British premiere at the Donmar of an Off Broadway entry from summer 2018 grants centre-stage, and not before time, to two disabled actors, one of whom – the mesmerically fearless Daniel Monks – plays the Shakespeare-inspired figure of the title.

Jackie Sibblies Drury’s Fairview comes to the Young Vic with the 2019 Pulitzer Prize for Drama under its belt, and a reputation for putting audiences on their mettle through a build-up of theatrical surprises that culminate in a denouement about which the playwright has urged all who have seen the pla

Blue periods can lead to golden streaks. Such is almost the case with Honey Boy, which Shia LaBeouf wrote during a court-ordered stay in a rehab clinic for the treatment of PTSD symptoms. Based on LaBeouf’s upbringing and childhood acting years, the film focuses on the troubled relationship between Otis (Noah Jupe) and his dad James (Shia LaBeouf), switching occasionally to a young adult Otis (Lucas Hedges) undergoing rehabilitation.

Moonrise Kingdom is stuffed with director Wes Anderson’s familiar tropes. Elaborate sets, artfully designed props and Bill Murray all feature, the usual eccentricities tempered by genuine affection for the film’s young heroes. Anderson’s eighth feature film, released in 2012, is about many things: youthful love, isolated rural life and family dysfunction among them.

Elizabeth Strout is fond of plain titles. Much as her stories are interested in subtlety – the quiet complications and contradictions of ordinary life – her books advertise themselves by means of telling understatements. Olive, Again follows ten years on the heels of her Pulitzer Prize-winning “novel in stories” Olive Kitteridge, which painted a resonant, emotionally complex portrait of a community in fictional Crosby, a small coastal town in Strout’s native Maine.

Of all the groups you probably wouldn’t want to be part of, surely the hyper-adrenalised, hardscrabble populace of The Wolf of Wall Street, the Jordan Belfort memoir made into an amphetamine rush of a film by Martin Scorsese, must rank near the very top. And yet here, against expectation, is an immersive theatre adaptation of the non-fiction memoirs that spawned the 2013 movie.

The first series of The Sinner in 2017 starred Jessica Biel as a disturbed woman who seemingly inexplicably stabbed a man to death on a beach, then could remember nothing about the crime. This second season on BBC Four finds Biel on board as executive producer, but this time the story is of a young boy who seemingly inexplicably poisons a couple, and admits to doing it.

Some two million Americans are currently in prison in America. A disproportionate number are black and nearly 200,000 are estimated to be innocent. John Grisham’s quietly horrifying new novel is a damning indictment of the inequities and corruption of the American legal system, which is shown to be not only corrupt but also profoundly inefficient and adept at making victims of those it incarcerates.

Ken Burns is the closest American television has to David Attenborough. They may swim in different seas, but they both have an old-school commitment to an ethos that will be missed when it’s gone – the idea that television is a place to communicate information with a sober sense of wonder. Burns’s field is American history in all its breadth and depth. Last time round it was a lapidary decalogue of documentaries about the Vietnam War.