It’s hard to take The Old Guard seriously — it’s an action film about thousand-year-old immortal warriors. Pulpy flashbacks and fake blood abounds. But The Old Guard doesn’t need to be serious or even memorable: it’s a fun, feel-good film, a rare commodity these days.

If COVID-19 isn’t the only topic being tackled by creative folk at the moment, it certainly feels like it. That’s perfectly understandable, when the practical and emotional conditions of doing anything at the moment – in lockdown – invariably become, in some way, the subject.

Who knows how many lockdown shorts have been aired on social media? But with Homemade, we have 17 made by a cracking collection of professional filmmakers from around the world. Like any compendium, some are stronger than others, but for the most part it’s a remarkably consistent assembly.

After the success of the sci-fi crime drama 1983 (2018), another Polish original series has landed at Netflix. The Woods, directed by Leszek Dawid and Bartosz Konopka, is a six-part mystery thriller adapted from Harlan Coben’s novel, set in two main time spans: 1994 and 2019.

Spike Lee’s ambitious tale of five American veterans returning to Vietnam to settle unfinished business, should have opened out of competition at Cannes last month. He was set to become the first African American film-maker to head the festival jury. Instead, coronavirus wiped out Da 5 Bloods cinema release and the film debuts on Netflix.

Since Donald Trump's election as US President in 2016, I imagine satirists have slowly lost the will to live – as nothing they can write can outdo his buffoonery. But when Greg Daniels (creator of the American version of The Office) and Steve Carell (its star) announced they were inspired to write Space Force from one of his ideas, it augured well.

Don’t do drugs, kids. For the past 50 years, that’s been the consistent message. But how much of what we know about psychedelics is just fearmongering? Do you really want to jump out of a window? Will you permanently lose your mind?

Tina Fey and Robert Carlock’s hit comedy Unbreakable Kimmy Schmidt (Netflix) ended its fourth series in January last year, but this belated interactive special suggested there could be new life in it yet.

Jerry Seinfeld said in a recent interview that this Netflix special – 23 Hours to Kill – may be his last stand-up show. That's a shame, as there's much to enjoy here, even if he is retreading some old ground.

Much of this material he performed during UK dates last year (and some of it he had also performed when he previously visited the UK, in 2011), but that's OK as far as it goes – he's still a very funny man, and his grouchy, world-weary shtick can bear some repetition.

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?

When not dipping into its bottomless debts to write Scorsese blank cheques, Netflix tends to favour old-school TV movie potboilers such as this slick, silly thriller, in which young couple Katie (Camila Mendes) and Adam (Jessie T Usher) have their moral flaws picked apart by financial temptation.