It's remarkable that the story of Seretse Khama, the king of Bechuanaland, isn't more popularly known, though Amma Asante's film may change all that. The movie opens in a smoggy, gloomy London in 1947, where Seretse (David Oyelowo) is completing his studies in law prior to returning to rule his homeland. Momentous change is in the air in the post-war world, as Europe struggles to rebuild and Indian independence signals sundown on the British Empire. 

In his lovely memoir My Father’s Fortune, Michael Frayn dubs the Holloway and Caledonian Roads the “Tigris and Euphrates” of his family history. In that case, just a few pages west in the London A-Z (the mystic scripture that baffles an American celebrity-minder in this novel), the course of the Kilburn High Road and its flanking suburbs must count as Zadie Smith’s grungy, gridlocked Nile.

After a hiatus, theartsdesk Radio Show is back with a new partner, Music Box Radio, hosted in their studio at the Market House in Brixton. Peter Culshaw’s global round-up of new and newly re-released discs jumps from Brazilian psychedelia to synth funk from Capo Verde and assorted exotica. There’s new jazz from Michael Wollny and Vincent Perani and new tango-tinged systems music from Steve Reich, and West African grooves.

The cinema trailer for A Monster Calls ★★★★ looks faintly ludicrous, with its scenes of a giant tree stomping around the landscape, but don't be deceived. In conjunction with screenwriter Patrick Ness, who also wrote the original novel, director J A Bayona has conjured a bittersweet and often painfully moving account of bereavement and growing up, in which the grim burden of terminal illness is alleviated by the healing power of art and fantasy.

They keep on coming, these crime dramas, from every direction. The Viking invasion continues, the co-productions with France, the ongoing American global takeover. Meanwhile back in Blighty, Red Productions have been a reliable source of quality drama since the 1990s. Their most recent forays into crime have both involved Sally Wainwright: Happy Valley was theirs, and so was Scott & Bailey.

Do you carry a small part of the Congo every day on your person? Probably. Your mobile phone will contain coltan, aka columbite tantalum, which is used to make your electronics work better. And this is mined in the Congo. The trouble is that fluctuating prices for this mineral, as well as competition for such resources, encourages conflict between militia groups, which is one reason for the constant wars in this region of Africa. Another reason is the legacy of colonialism. Another reason is unfettered masculinity. And so it goes on.

Accustomed as we now are to superheroes who can change size and shape, fly at nuclear speeds, levitate ships and vibrate themselves through walls, a bloke wearing pedal-pushers and jumping out of trees might be considered a bit of an under-achiever. Nonetheless Tarzan is back yet again (more than 200 Tarzan movies have been made since 1918), and Warner Bros are doubtless hoping to kick off a new big-budget franchise.

Another of Peter Culshaw’s peripatetic global radio shows. Star of this month's show is the Trinidadian Calypso Queen Calypso Rose, whose new album Far From Home, to be released in July, is given a sneak preview here. Then there is the usual wild, eclectic mix ranging from the latest cool jazz releases to cosmic sounds from Cape Verde, rediscovered Prog from Brazil, country blues and deep new African grooves. And Peter Sellers. Enjoy.

I knew that if I was going to write a play about female genital mutilation, I would have to try and understand why any mother or grandmother would make their child undergo such a brutal procedure. In my research, I read many articles and accounts of young women who were living with the emotional and physical consequences of FGM. I’d watched disturbing and devastating footage of young girls being cut, so it was difficult to comprehend how anyone could allow this act to happen, let alone celebrate it.

What larks! The first run of Zoo Quest – itself the first of the wildlife programmes – started 62 years ago, in 1954. It was thought it had all been filmed in black and white, on small 16mm cameras, but in fact a condition imposed by the BBC was to shoot in colour to produce a sharper image in black and white. Discovered in the archives a few months ago were perfectly preserved canisters of colour film, six hours' worth in all. This was all a decade before colour came regularly to television.