Shappi Khorsandi's latest show, Skittish Warrior – Confessions of Club Comic, is an enjoyable look back at the stand-up's 20 years in the comedy business. She starts by taking us back to when she was child refugee; her father, a poet and satirist, offended the clerics in Iran, and was even the target of an assassination gang in London.

Julian Fellowes admits he knows little about football and has always hated sport in general, but this hasn’t prevented him from writing a TV series (for Netflix) about football’s 19th century origins.

The 2020 Formula 1 season will commence in Melbourne next weekend... unless the race is cancelled because of the mounting coronavirus panic. Everyone will have to self-isolate and watch Netflix instead, so how fortunate that the ‘flix has delivered this second series of Drive to Survive in the nick of time.

The comic book of Locke and Key, written by Joe Hill (son of horror writer Stephen King) and illustrated by Gabriel Rodriguez, was first published in 2008, and its mix of multi-generational family drama and supernatural creepiness made it a cult hit.

This eight-part mystery from Netflix is based on the titular novel by American writer Harlan Coben, who has formed a production company with Rochdale’s own Nicola Schindler, the production brains behind Happy Valley, Last Tango in Halifax and many more.

Netflix’s Sex Education has returned to our screens and streams. The show made waves last year for its refreshing take on the teen comedy-drama. It took on abortion, consent and female pleasure — subjects strikingly absent from our actual high school educations.

It’s an intriguing question. If a new Messiah appeared today, what kind of reception could he (if it was a he) expect? Possibly something similar to the one which greeted Jesus, according to Netflix’s new series Messiah.

The Safdie brothers, Josh and Benny, once programmed a season of films entitled Emotional Sloppy Manic Cinema, and if sloppy is subtracted from that description, it’s a pretty accurate summation of their work here in Uncut Gems. This is edge-of-the-seat filmmaking, with vertiginous camerawork by Darius Khondji and a relentless, immersive soundscape of electronica and layered dialogue.

Although it conforms to a realistic chronology of events, this third season of Peter Morgan’s remarkable voyage around the House of Windsor (on Netflix) has the feel of a sequence of standalone dramas, linked together by its interrelated characters and their shared history.

With The Laundromat Steven Soderbergh is trying to do for the Panama Papers what The Big Short did for the 2008 financial crash, namely offer an entertaining mix of explanation, exposé, black comedy and righteous anger. Sadly, it doesn’t come close.