Well this is a nice change from the standard stand-up fare. Not many comics have a DJ introduce them with a cracking set of his own, and even fewer tour as part of a double bill with material that moves seamlessly from one set to the other as they dig down into race and ethnicity from either side of the Atlantic.

London's impromptu mini-season devoted to the work of Athol Fugard picks up real steam with Blood Knot, Matthew Xia's transfixing take on one of the benchmark titles of the apartheid era and beyond.

Where would you go for a devastating study on the human condition? The home movies of teenage skaters would be very low down on that list. But most of those movies aren’t filmed, compiled and analysed by Bing Liu, the director of Minding the Gap. Perfectly balancing perspective and curiosity, it’s perhaps the most unexpected achievement on the year.

Films that show a young couple’s love deepening are rare because without personal conflict there’s no narrative progression.

With five nominations, Green Book is cruising optimistically towards Oscar night, but it’s not all plain sailing for director Peter Farrelly’s mixed-race fairy tale about a posh black musician and his thuggish Italian minder.

Janelle Monáe had already established herself as pop’s next great innovator with The ArchAndroid and Electric Ladyland, two albums full of earworms, high production and retro-futuristic lyrics. This all-too-brief musical career seemed in jeopardy when Monáe successfully made the jump to film, with her debut features Hidden Figures and Moonlight winning heavily at the Oscars.

There was a ruthless logic to the scheduling of The Long Song (BBC One). Broadcast over three consecutive nights, this fleet-footed adaptation of Andrea Levy’s novel set during the era of abolition in 19th-century Jamaica swiftly gathered momentum and proceeded at pace towards (praise be) a charming denouement.

With the politics of hate alive and well both sides of the Atlantic, this seems a good time to revive Tony Kushner and Jeanine Tesori's 2003 musical, which is set in Civil Rights-era Louisiana.

This is Natasha Gordon’s first play, and in it she has created an entire world. A world of grief and laughter, conflict and closeness. A world that is very specifically located within Britain's Jamaican community, yet one whose themes of loss and belonging cross boundaries.

Starr Carter is 16 years old and her life straddles two very different worlds, the posh prep school she goes to with its privileged white students and the troubled black neighbourhood she lives in with her family. And like its heroine, The Hate U Give straddles two very different genres, playing as both a teen drama about friendship, bullying and boyfriends and an African-American call-to-arms about police brutality.