Broken Hearts and Beauty Sleep has been five years coming. It’s only a mini-album but is spiced with a range of guests, and offers an array of musical styles, the whole sound ably built with alt-tronic producer FaltyDL. The press release tells us Blanco has recently come out of a calming three year relationship, but the album is neither morose nor studiedly reflective. It feels more like a sequel to the playful 2016 debut Mykki.

Absorbed meets Allison at the end of her relationship with Owen. They are at a New Year's Eve party when she realises that their 10-year partnership has wound down. So far, so normal. But even within this introduction, we are drawn into Allison's head, the promise clear that the anxieties she hears on a daily basis will become secondary characters to the plot itself.

According to Rosie Wilby, “breaking up and staying together are simply two sides of the same coin.

Kindred literary spirits who overlapped in any number of ways make for riveting stuff in Truman & Tennessee: An Intimate Conversation. Filmmaker Lisa Immordino Vreeland folds archival footage of the legendary writers together with recitations from their life and art spoken by Jim Parsons and Zachary Quinto.

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.

The late Weimar-era film Mädchen in Uniform (1931) was visionary – a delicate Queer love story set in a repressive girls’ boarding school that denounced the Prussian militarist creed as dehumanising.

Somewhere in dance culture or other, the Eighties revival has now been going on more than twice as long as the actual Eighties did. Starting around 1998, it reached an initial peak in the early 2000s as the dayglo-fashion led electroclash, but though the eye of the press moved away, it never really died away.

"A candied tarantula" is one of the many great descriptions of Truman Capote that light up this conventionally made but enjoyable profile of the American author most famous for Breakfast at Tiffany’s and In Cold Blood.

Finally, it seems, the time is right for a major British TV drama about how the AIDS crisis hit the early 1980s London gay scene.

The title of Swedish director David Färdmar’s feature debut gains a degree of helpful context from one of its opening lines, “But there’s no more we”.