Do you happily binge four hours of mind-candy TV in one sitting? Alecky Blythe’s latest verbatim play, Our Generation – which runs for 3hr 45min at the Dorfman space of the National Theatre – might take almost as long but will probably be much more rewarding.

Having had her own problems with alcohol and anxiety, Sheridan Smith no doubt felt some kinship with Jenna Garvey, the central character she plays in The Teacher. Evidently a talented educator who inspires loyalty and enthusiasm in her pupils, Jenna is also partial to a hectic night’s clubbing fuelled by reckless quantities of drink.

When Berliners sat down to watch Franz Wedekind’s debut play Fruhlings Erwachen – Spring Awakening – in 1906, they had little inkling of the kind of drama he had written, or how it would change theatre for the century to come, despite being banned for long periods.

A stealthily powerful play gets the production of its dreams in Camp Siegfried, which marks a high-profile UK presence for the American writer Bess Wohl.

Anne-Marie Nicholson is a hard-working young woman from Essex whose career description is “Global Girl-next-door Pop Star”. She has incrementally worked her way there, attended the marketing meetings. Anyone requiring a CV that exemplifies the steady, data-farmed, disciplined path to contemporary major label pop stardom, should look to hers. Spontaneity and originality are out, every media detail is micro-managed, but a multi-platform, multi-territory project such as this can reap grand rewards.

Watching Fast Times at Ridgemont High in 2021 is like taking a trip in a time machine and stepping out into a totally different world.

Sequin is the screen name for the questing 16-year-old at the slowly awakening heart of Sequin in a Blue Room, a 2019 Australian film only now reaching the UK.

A teen comedy with a thematic difference, Moxie has enough memorable moments to firmly establish comedian Amy Poehler as a director worth reckoning with in what is her second film, following Wine Country in 2019.

Adam (Charlie Plummer) is being tested for glaucoma at the start of Words on Bathroom Walls, the director Thor Freudenthal's adaptation of Julia Walton's 2017 Young Adult novel.

Rocks is a beautifully made slice of neo-realist filmmaking which deserves to get a wide audience but may well slip off the radar in the current climate. It really should be experienced in a cinema as the camerawork by Hélène Louvart is stunning and the sound design is excellent.