Lucy Gannon is the doyenne of drama-lite. Anyone who has seen Bramwell or Soldier, Soldier or Peak Practice will know her scripts, no matter how much suffering the characters undergo, will leave the viewer feeling better. She is in the reassurance game. The world is full of bad things and bad men but, generally, goodness wins out. All’s well that ends well.

It was Lenin who realised early in the Russian Revolution that “of all the arts, film is for us the most important” and Hitler and Goebbels perceived the immense propaganda potential of the Olympics through the medium of film. The 1936 Olympic Games took place in Berlin a few months after Hitler’s armies occupied the Rhineland. Hitler spared no expense in making it the best organised and most efficiently equipped in the history of the Olympics.

In the cool, dim, municipal modernist interior of Hornsey Town Hall you’re confronted with a neon sign: And Europe Will be Stunned. It's the title of the trilogy of films at the heart of this Artangel-commissioned show by Israel-born Yael Bartana. The films are split in location around the building in an exhibition which includes neon slogans and posters which can be taken away, bearing manifestos in different languages.

Did Magda Goebbels do her children a favour by murdering all six of them in the bunker? Her rationale, as reported in the film Downfall, was the impossibility of imagining a life after Hitler for anyone called Goebbels.

It’s impossible to think of a contemporary British director or writer-director team making six consecutive masterpieces as did Michael Powell and Emeric Pressburger when they followed The Life and Death of Colonel Blimp (1943) with A Canterbury Tale (1944), I Know Where I’m Going! (1945), A Matter of Life and Death (1946), Black Narcissus (1947) and The Red Shoes (1948).

Like many 20th-century Britons, the documentarist Humphrey Jennings was inspired to do his greatest work by World War Two. The crisis elicited not only his genius as a poetic propagandist but as an unofficial sociologist who demonstrated that the class struggle and ingrained cultural differences, if irresolvable, were not necessarily an impediment to the collective effort of beating Hitler.

In 1888, the extremely weird Swedish playwright and novelist August Strindberg, the radical lefty son of a shipping merchant and a housemaid, wrote a play called Miss Julie about the conflict between the classes, between love and lust, between obedience and servitude, and between all the possible variations on these knotty and tortu(r)ous themes.

If you’re one of those readers who likes to believe that a novelist’s work and the life he leads have little or nothing to do with one another, then I trust you were watching last night’s Arena: The Dreams of William Golding.

With the smoke from Julian Fellowes' upcoming Titanic mini-series for ITV becoming visible over the horizon, Channel 5 nipped in with this startling new spin on the tale of the doomed liner. It's not widely known that when the Nazis were riding high in the early part of World War Two, they hit upon a plan to turn the Titanic story into a blockbuster propaganda film, designed to throw contempt and ridicule over Britain's ruling elite.

The BBC's updated Upstairs Downstairs is not a lucky show. Its three-night debut in December 2010 brought unflattering comparisons to Downton Abbey, a fate also likely to greet the imminent series two thanks to Downton's booming national-treasure status. Worse, Upstairs... is reeling from the double blow of losing Eileen Atkins's Lady Maud and Jean Marsh as Rose Buck.