Jane Treays's previous film about diver Tom Daley was 2010's The Diver and His Dad, which followed the amphibious teenager as he sat his GCSEs and defended various titles. Ominously, it also charted the progress of his father Rob's struggle against a brain tumour.

We had Kevin MacDonald’s Bob Marley epic documentary earlier this year, and this is a similar film about another artist who became a symbol as much as a singer. I only saw Miriam Makeba in her sixties, by which time she had become a revered institution they called Mama Africa, as though she was the mother of an entire continent. This Storyville documentary took us back the amazing vibrancy and courage of her early years, with some terrific archive footage.

The first anniversary of Amy Winehouse’s death seems like both a temptation and an opportunity for a sensationalist, hyperbolic tribute. Refreshingly, this Arena film, which told the story of the night that a superstar in the making performed to an 85-capacity church in the Irish fishing village of Dingle, for the most part avoided the clichés: the word “tragedy” wasn’t even mentioned until 38 minutes in.

Forget the ages-old talk of London buses arranging their schedules so that they all arrive at once. The capital's patterns of public transport have nothing on the rapidity with which Henry V has hoved into view of late, whether at Shakespeare's Globe, on tour from the all-male Propeller company, in repertory at Islington's Old Red Lion pub theatre or as a baleful conclusion to the BBC's impressive Hollow Crown series of the Bard-on-film.

It’s as well to be ready. There will come a time when our civilisation may enter a period of darkness which will be known, self-explanatorily, as After Attenborough. May it not arrive any time soon, or even ever. But if, or more likely when, it does, it won’t matter anyway because we’ll have already spit-roasted most species into extinction, as Sir David has been direly warning these past few years. By then, the familiar larynx will have described the life and times of more or less every creature who ever wandered in front of a lens (give or take the odd million subspecies).

"What caused him to be so fast? Is he here for a purpose?" wondered Usain Bolt's father, Wellesley, in a mystical tone. Usain's mother, Jennifer, also seems to detect the workings of a higher power in her son's blindingly rapid progress around the world's running tracks. "Thank you, Lord, for what you have done," she said.

One intends no discredit to the keenly judged monarch-to-be that is Tom Hiddleston's Prince Hal, who will reappear on the small screen next weekend carrying the story forward in Henry V, to point out that Richard Eyre's terrific BBC adaptation of Henry IV Part 2 was stolen by dad. Playing the ailing King Henry who will not go gently into the good night, Jeremy Irons gave a performance of equal parts fury and passion that ranks with this actor's very best.

If your evening regime involves lying on the sofa with a KFC boneless banquet wedged between your knees and a bucket of Fanta, complete with multi-angled drinking straw to prevent unnecessary movement, under your armpit, then you would have been forgiven for avoiding The Men Who Made Us Fat. Who, after all, wants to spend their downtime being made to feel like a self-harming, NHS-crushing lard-arse?

Every leading thespian needs a depressive Swedish detective in his repertoire, and Kenneth Branagh has the knighthood to prove it. He may also face a little extra critical scrutiny this time around, since the return of his Anglicised Wallander comes in the wake of the recent Scandi invasion, courtesy of The Bridge, Borgen and The Killing II. We've even had a little dose of Sebastian Bergman, starring Rolf Lassgard, famous in Sweden for his portrayal of Kurt Wallander. And we've had the Swedish Wallander itself.

Now we're talking! Following on from a small-screen Richard II of greater aural than visual interest, along comes Richard Eyre's TV adaptation of both Henry IV plays, and the first thing that seems evident about Part One is how well it would hold up in the cinema.