Let me be clear. The agonising process of the UK’s departure, or not, from the EU will be an infinite field of academic study over the decades to come.

Okay, so this is the play that will be remembered for the character names that have unusual spellings. As in Alys not Alice, Kyte not Kite, etc. Anyway, Lucinda Coxon's adaptation of journalist Harriet Lane's 2012 bestseller for the Bridge Theatre starts off with Frances (Downton Abbey's Joanne Froggatt) coming across a fatal car crash in which Alys, a woman she doesn't know, is killed.

“I’ve remained a vital presence on the fringes of TV Land,” argues Alan Partridge in an interview with Radio Times, the man whose latest claim to… well, not fame, but at least he has been presenting Mid Morning Matters on North Norfolk Digital.

"It's gonna be the best golf course in the world," a man in an Aertex shirt and a bright red baseball cap is assuring us. "The best. I guarantee it." You can tell he's the kind of person who thinks talking quickly and loudly is the same thing as being right.

Sitting somewhere between Ruben Östlund’s The Square and Final Destination, Dan Gilroy’s Velvet Buzzsaw is a satirical supernatural thriller that goes for the jugular of the LA art scene.

If we think of Robert De Niro and Brian De Palma, we likely think of The Untouchables from 1987 with the great actor in his career pomp, chewing up the scenery in a memorable cameo as Al Capone. However, the pair had history.

A one-night stand between a female college student, Margot, whose part-time job is selling snacks at the cinema, and thirtyish Robert, a customer, goes pathetically awry. It was disappointing, uneasy, perhaps more, and memorialised in all its edgy discomfort in Kristen Roupenian’s “Cat Person”, published in the New Yorker in December 2017.

Satire was once thought in America to be that thing that closed on Saturday night. Not here: filmmaker Adam McKay goes the distance with Vice, a hurtling examination of realpolitik that puts Dick Cheney under a spotlight at once satiric and scary. Do we have Dubya's onetime veep to thank for the subsequent rise of Trump and the parlous state of affairs Stateside since then?

Read theartsdesk review of Call My Agent!, Series 4

It’s the nature of satire to reflect what it mocks, so as you’d expect from a British Museum exhibition curated by Ian Hislop, I object is a curiously establishment take on material anti-establishmentarianism from BC something-or-other right up to the present day.