A thirtysomething American woman with wavering self-confidence, a tendency to talk too much and a longing for married bliss with Mr Darcy at his gorgeous country pile tries to reset her life post-breakup with a grown-up new job in London. Welcome to Bridget Jones country as seen through the lens of New Yorker Lena Dunham. 

When in the 1990s, Jenny Saville’s peers shunned painting in favour of alternative media such as photography, video and installations, the artist stuck to her guns and, unapologetically, worked on canvases as large as seven feet tall. While still a student at Glasgow School of Art, she painted Propped, 1992, one of the most challenging and memorable female nudes in the history of art (pictured below right). 

The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s rock musical about teenage angst in 1960s Britain. What follows isn’t so easy to recognise.

Fans of the character comedian Graham Fellows will possibly turn up for this British film starring the man who created the punk parody single “Jilted John” and Sheffield’s finest, the car-coated singer-songwriter John Shuttleworth. But they may leave disappointed.

If somebody submitted a treatment for a new costume drama series set in the 1930s in which not just one but two fictitious sisters from a fading aristocratic family pair off with leading fascists, while the cousin warning them off these liaisons is a future British PM, the pitch meeting probably wouldn’t last that long. 

The 23 years since 28 Days Later and especially those since Danny Boyle’s soulful encapsulation of Britain’s best spirit at the 2012 Olympics have offered rich material for a franchise about deserted cities, rampaging viruses, hard quarantines and an insular, afraid country hacked adrift from Europe.

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but Tate Britain’s retrospective of Edward Burra manages to achieve just this. I’ve always loved Burra’s limpid late landscapes. Layers of filmy watercolour create sweeping vistas of rolling hills and valleys whose suggestive curves create a sexual frisson.

On leaving prison, Lollipop’s thirtyish single mum Molly discovers that reclaiming her kids from social care is akin to doing lengths in a shark-infested swimming pool teeming with naval mines. 

If you’re horse mad or merely an every-four-years Olympic fan, you already know Nick Skelton’s story. Equestrianism can favour mature competitors, but Skelton was twice the age of his rivals. He'd survived numerous injuries – including a broken neck – by the time he propelled Britain to showjumping gold in 2012. Fifty-four at the London games, he wasn’t done. Both he and his horse Big Star returned to the Olympics four years later to win the individual gold medal.