Twelfth Night is rarely long-absent from the British stage and nor is it in our current climate of streaming aplenty. This 2017 production for the RSC from the director Christopher Luscombe will soon be followed online by the National Theatre’s gender-flipped version, with Tamsin Greig as Malvolia, which actually preceded this Stratford production at the time.

The National Theatre’s online broadcasts got off to a storming start with One Man, Two Guvnors – watched by over 2.5 million people, either on the night or in the week since its live streaming, and raising around £66,000 in donations.

Since Back in Time for Dinner in 2015, this BBC Two social history strand in which families travel into a recreated past to experience ways in which society, leisure and lifestyles have changed has proved a robust perennial.

Armando Iannucci’s move away from the contemporary political satires that made his name, first signalled by his bold, uproariously brilliant Death of Stalin, continues apace with a Dickens adaptation that feels quietly radical.

"Dickensian" commonly means both sentimental Victorian, apple-cheeked family perfection (especially at Christmas) and abject poverty. The story of Scrooge encompasses both as the old curmudgeon learns to mend his miserly ways and open his heart to others in a tale of redemption.

Wild Rose director Tom Harper blends fact with fiction in a charming Victorian ballooning adventure that reunites Eddie Redmayne and Felicity Jones for the first time since The Theory of Everything.

Focusing on twelve women who played a key role in the lives of Pre-Raphaelite painters like Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, this timely exhibition begins with a whimper and ends with a bang. First up at the National Portrait Gallery is Effie Gray whose marriage to art critic, John Ruskin was annulled after six years for non-consummation. The story goes that, having only seen classical Greek sculptures, he was horrified by her pubic hair!

It may sound perverse to say it, but Albert was the perfect twenty-first century prince. Thrust into the heart of the British monarchy he was simultaneously an oppressed outsider who – despite his reputation as the most handsome prince in Europe (not least when wearing white cashmere pantaloons) – struggled to make his voice and intelligence heard.  

Revisiting Gillian Armstrong's My Brilliant Career for the first time since I saw it in its year of release, 1979, is a mixed experience. I was close in age to its heroine and it was one of the first mainstream feature films I’d ever seen directed by a woman.

Given that the life of Queen Victoria spanned the best part of a century, the first task for any biographer is to hack a path through the mountain of facts. It ought to help that the queen was a prolific diarist. Too bad for choreographer Cathy Marston that Victoria’s youngest daughter got there first.