The celebrated actor had a turbulent upbringing before becoming world-famous for playing two perfect nannies. Now she’s bonding with a new generation of children through her storytelling podcast

“I’ll tell you what, shall I go outside?” Julie Andrews asks. We are talking by phone, but, alas, the reception inside her home on Long Island is, she says, “always terrible”. Torturous minutes pass in which I can hear only fragments of her conversation, and if anyone knows of a sweeter agony than being barely able to hear Andrews’ still lovely, melodious voice, I don’t want to know what it is. Eventually, I have to tell her this phone conversation isn’t working.

“I can stand out in my garden, although it is a bit nippy …” Andrews suggests.

Joseph Gilgun and ne’er-do-well pals are back – and planning to rob a circus. Plus: is change afoot in Devs? Here’s what to watch this evening

With so many conversations now happening online, all eyes are on our decor. It may even help me find a buyer for my strange yellow filing cabinet

An awful lot is being made of what is on the bookshelves behind people who broadcast or are interviewed in their homes. Thankfully, mine are at a right angle to the computer so you cannot see any of the titles. In fact, until adjustments were made, it looked as though the shelves were completely empty, which was rather shaming. The books had to be pulled forward, to make it clear they existed, without compromising their anonymity.

I was keen to have a nod to my football team, West Bromwich Albion, in the back of shot. A scarf seemed a bit naff, and my treasured West Brom gnome just too odd. I even considered a jigsaw puzzle of the face of one of our greatest ever players, Tony “Bomber” Brown. Unfortunately Bomber, as gentle a man as you could ever meet, looks like a serial killer in this particular picture.

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A teenager bonds awkwardly with her cousin as they take the bus from a rural community to New York so that she can have a termination

The four words in this title are the four possible replies to bureaucratic tick-box questions about the frequency of your various sexual experiences. A young woman here must answer them, before she is allowed to have an abortion. However rigid and blandly routine it seems, the four-part answer grid is cleverly designed to get information about vulnerability: it is so easy instinctively and evasively to deny a difficult question structured as a yes/no, but much harder to check the “never” box, when “rarely”, “sometimes” and “always” are coolly offered as equivalently non-judgmental options.

The lead character in Eliza Hittman’s tough, realist drama is confronted with this central, four-part inquisition about her life in one brilliantly controlled, enigmatic scene. Theoretically, it is just a bit of form-filling that doesn’t appear to promise any real revelation to the audience. Yet it does just that, delivering a penny-drop moment of realisation. Or perhaps it’s more of an ambiguous hint and all the more disquieting for that.

Related: Sleazy bosses, exploited barmaids: US cinema finally discovers the left behinds

Grigory Sokolov
(Deutsche Grammophon, 2 CDs, 1 DVD)
He last gave a concert in the UK in 2007, so any opportunity to hear one of the world’s finest pianists is welcome, though this is uneven

For over a decade now, the British government’s stringent visa requirements for visiting musicians from outside the EU have ensured that Grigory Sokolov has not played in Britain. The Russian gave his last recitals here in 2007, and as he no longer performs concertos, and shuns studio recordings, opportunities to hear a pianist who many regard as one of the finest alive today get fewer by the year. This compilation at least brings us more or less up to date, with performances taken from recitals that Sokolov gave in 2019 in Zaragoza, Wuppertal and in the Tyrolean village of Rabbi, where the great Italian pianist Arturo Benedetti Michelangeli had a house, and where a festival is now held in his memory.

Vinnie and the gang decide to rob a circus, as Joseph Gilgun’s hit comedy – part-Shameless, part-Ocean’s Eleven – returns for a second run

At first glance, Brassic (Sky One) looks as if it might have been the first quarantine comedy. The second series begins with Vinnie (Joseph Gilgun) skulking around the fictional Lancashire town of Hawley in full DIY hazmat get-up, with his hood up over a hat, a scarf pulled over his face, and sunglasses, despite the weather being a near-permanent state of grey drizzle. It even goes a bit Tiger King, when a robbery takes an unexpected feline turn.

But Brassic is only accidentally of the moment: there’s far too much non-social-distancing going on, for a start. It was filmed last year, while the first series was airing, and it became Sky’s biggest original comedy in years. That’s no surprise. It had an easy appeal and a raucous sense of humour, with real heart behind the madcap antics.

Mark Cousins’ latest encyclopedic romp is a glorious enterprise that unearths footage from some of the greatest film-makers ever – all of them women

A perfect lockdown gift has landed, one which might have sounded daunting in ordinary times: a 14-hour documentary about female directors, which goes live from next week on BFI Player. This glorious enterprise unearths footage from some of the greatest movie-makers of this century and the last – all of them female. At the same time, the BFI is showing 36 of the hundreds of films mentioned, so that viewers can enjoy full immersion over weeks, possibly awarding themselves a degree in, say, The Cinema of the Second Sex afterwards.

Narrated by women including Tilda Swinton and Thandie Newton, Women Make Film – A New Road Movie Through Cinema is the latest encyclopedic romp from the Northern Irish film historian and documentary-maker Mark Cousins, who previously directed the 15-hour television series The Story of Film: An Odyssey, in 2011. The new documentary will be released in palatable chunks over five weeks from 18 May, and aims to open a conversation on the lost legacy of women behind the movie camera.

Related: Angry young women: how radical, female film-makers defined the spirit of '68

(New Deal)
With his fourth solo album the acclaimed producer faces down the confusion of modern life with intoxicating calm

Blake Mills has picked up Grammy nominations for his production work on Laura Marling’s Semper Femina, John Legend’s Darkness and Light and Perfume Genius’s No Shape. However, the fourth solo album by the 33-year old Californian former touring guitarist should turn the spotlight towards his own work. Mutable Set is intended as a “soundtrack to the emotional dissonance of modern life”. Themes range from precious people and experiences to disappointment and isolation, though this isn’t conventional singer-songwriter fare.

People who love boozers always said it was the atmosphere, not the alcohol, that attracted them. The lockdown has proved us right

Some forgotten heroes – or mistreated victims, if you prefer – of the coronavirus outbreak are pubs. People who love pubs always said it was the atmosphere, not the alcohol, and people who didn’t love them thought we were just spinning them a line. Now we have proof, because we are drinking as much as we ever did and yet we complain almost constantly.

That debate has ended, anyway, because the people who miss pubs now talk only to each other. We start off complaining about the pub, then segue, almost shyly, into: “Are you managing to drink quite a lot?” “Jesus Christ, you should see the state of my recycling bin. It only got collected two days ago. Today I had to climb into it to compress the cans with my body weight.” “I actually can’t carry as much beer as I want to drink,” said one friend. “One night, I ended up buying a bottle of gin.”

Zoe Williams is a Guardian columnist