“Know thyself” is the theme of A Rainy Day in New York. Woody Allen’s 48th film as writer-director, is – despite what you may have heard – at once his funniest and most reflective movie in years. Either wilfully archaic or stubbornly nostalgic, as his later work has tended to be, its story of a privileged youth who learns he must reject the life prescribed for him by an overbearing parent is universal; Allen’s unfamiliarity with Gen Z lingo and smarts doesn’t invalidate its core truths.

At this year’s Oscars Bong Joon Ho brought the audience to its feet in honour of the director whose words had struck a chord with him as a film student. The comment, simple but difficult to adhere to in the cut-throat, risk-averse movie business, was that “the most personal is the most creative”. The director, Martin Scorsese.

The journalistic addiction-memoir is a crowded genre these days: Details editor Dan Perez chronicles his massive intake of Vicodin and other opioids in As Needed for Pain; New York Times columnist Eilene Zimmerman pieces together her husband’s drug addiction in Smacked, and now Terri White, editor-in-chief of Empire magazine and former editor of Time Out New York, shares with us her benders, blackouts and hospitalisations, somehow combined with an impressive career path, in the vivid, painful Coming Undone.

The movie adaptation of Lin-Manuel Miranda’s In the Heights was meant to hit cinemas this summer, but, in response to Covid-19, has been put back to 2021.

A musical featuring two people who are physically separated? Jason Robert Brown’s work is a shutdown natural – as this new digital theatre version demonstrates.

As lockdown continues, National Theatre at Home has announced its final sequence of plays, and several of the very best are being saved for last. That certainly applies to this week's offering, Small Island, whose dissection of Britain's racist past couldn't be timelier.

It's taken time, but at last we have two major musical figures speaking up for cultural institutions in dire straits. Following a crucial, detailed article by Charlotte Higgins in The Guardian, Simon Rattle and Mark Elder have finally taken up the cudgels as their colleagues in the theatre world have been doing for weeks.

The first series of What We Do in the Shadows, Jemaine Clement and Taika Waititi’s mockumentary about vampires in Staten Island (a TV spin-off from their cult New Zealand-located film) was a joy, and although it’s a hard act to follow, it’s delicious to be reacquainted with these timeless Transylvanian transplants and their mission to conquer the Americas. At least, that’s what their master, a crumbling vampire baron, has told them to do.

Woody Allen’s filmography, like Michael Caine’s, is remorseless, accepting mediocre work to mine more gems than most. Even after his career and this film’s planned 2018 release became collateral damage to #MeToo and a revived child abuse allegation, he has kept directing. A Rainy Day in New York is a thorough résumé of late Woody flaws, but still sparks with residual brilliance.

Featherweight is one thing, brainless is another. Can You Keep A Secret?, the romcom adapted by screenwriter Peter Hutchings from the 2003 novel by Sophie Kinsella, uneasily straddles the two until a conclusion that goes off the rails altogether and tumbles into the ludicrous.