Roberto Saviano’s book Gomorrah shone a blinding light on the Camorra crime clans of Naples, and spun off an acclaimed film and equally admired TV series.

Yoram (Menashe Noy), a vet in a Tel Aviv safari park, knows how to treat a sick jaguar (startling to see such a magnificent beast in an oxygen mask) but he has no idea how to comfort his troubled 17-year-old daughter Roni (a powerful Zohar Meidan). Both are mourning the death of Roni’s mother a year ago, but all they can offer each other is a tortured silence.

Is friendship mightier and more durable than sex? That's the proposition put forward by the engaging if ultimately cautious Banana Split, the Los Angeles-set romcom in which two teenagers become friends unbeknownst to the long-haired himbo boyfriend whom they have shared.

Netflix’s sweet but slightly strange drama Sex Education is already two series into its tale of teenage awkwardness in the face of growing up, with a third planned for when the Covid-19 plague is over. Yet it is only now that the soundtrack is being unleashed on the record-buying public.

The way that theatres and other arts institutions have leapt into action over the past week, providing a wealth of material online and new ways to connect with audiences, has been truly inspirational.

Welcome to New Mushroomton: a fantasy land that’s forgotten itself. This is how we’re introduced to Pixar’s Onward, which is set in a Dungeons & Dragons daydream of suburbia. Director Dan Scanlon’s film is a tribute to his late father, but it begins with a separate elegy.

This latest musical theatre exercise in “geek chic” has been an American phenomenon: a show propelled by social media that developed a rabid fan base taking it all the way to Broadway last year.

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.

Steven Levenson, Benj Pasek and Justin Paul’s Tony and Grammy Award-winning musical Dear Evan Hansen is an institution in the States, running on Broadway since 2016 and currently on its second year of a national tour.

Time has been not just kind but even crucial to Little Baby Jesus, the 2011 play from the multi-hyphenate talent Arinzé Kene, who since then has gone on become a major name on and offstage: the West End transfer of his self-penned Misty brought him dual Olivier nominations earlier this year as writer and actor, and he segued from that to playing the volatile son Biff in Death of a Salesman at the Young Vic.