Pre-release excitement about the fourth coming of The Crown (Netflix) has centred on Emma Corrin’s portrayal of Princess Diana, still big box-office 23 years after her death.

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.

The government may occupy shifting sands when it comes to handling Covid-19, but the arts thank heavens continue to step up to the plate with a dizzying array of online options. This week's output mixes a soul musical from 1970s Broadway alongside a major revival of a play by Alan Bennett whose enquiry into the psychological well-being of those in charge will doubtless resonate anew today.

Meanwhile back in the Dark Ages, Uhtred (son of Uhtred) is still seeking to reclaim his ancestral seat of Bebbanburg and manoeuvre through the treacherous currents of Saxon politics. The big question was, how would this fourth season manage in the aftermath of the death of King Alfred?

Les Enfants Terribles is the theatre company behind several interesting immersive projects, including Alice's Adventures Underground and Inside Pussy Riot. Now it has joined forces with Historic Royal Palaces to tell the story of two women integral to the Georgian crown – George II's wife, Queen Caroline, and his mistress Henrietta Howard.

The rage and bitterness surrounding the Brexit brouhaha have made it immune to comedy and satire, but perhaps change is in the wind. Channel 4’s bogus royal family is back after a two-year gap, charged (as an introductory voice-over explained) by Her Majesty’s government with cheering up the divided nation.

Perhaps somebody at BBC Four has had a quiet word with Lucy Worsley, because in this first of a new three-part series she did hardly did any of her usual irritating dressing up. There had to be a bit, though.

This three-part series by historian Lisa Hilton is a follow-up to her previous effort from last July, Charles I: Downfall of a King (BBC Four).

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.

Despite the fact that the Downton Abbey 2015 Christmas special wrapped the series up with a seemingly watertight bow, a cinema offering of Julian Fellowes’ much-loved creation was perhaps inevitable. And so virtually all of the series cast and a few new ones descend upon the fictitious Yorkshire pile for more misadventures upstairs and down.