TV and news website audiences are sky-high but, with few ads or new shows, future looks fraught

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From TV channels running out of shows, to newspapers facing the threat of closure, the British media industry is facing a financial shock that will permanently reshape how we consume news and entertainment.

Media analysts and insiders warn the pandemic will have a long-lasting impact on the country’s cultural life, predicting that changes in consumer behaviour expected to take more than five years may have happened in five weeks, with many people unlikely to entirely return to their pre-lockdown habits.

A comedy that never quite whinges about new motherhood, but is frank and self-deprecating about its difficulties

I know this is a column about shows you recommend watching in isolation, but I’m not sure if this one is comforting or excruciating right now. Maybe both! But if you’re self-isolating with small children, it’s almost definitely the latter.

The Letdown is the story of a new mum, Audrey (Alison Bell), struggling to cope with her changed circumstances. As the primary caregiver to her daughter Stevie, she’s largely confined to her home. She feels inadequate, out of control, confused, and frustrated as her previous life – friends, parties, a semi-stable career! – slips out of grasp.

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BBC One’s star-filled charity appeal needed imagination and technical skill to get round distancing rules

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Socially distanced presenters, a skeleton crew, no live audience and automated phonelines only – this is national telethonning, lockdown-style. Comic Relief and Children in Need have joined forces to create The Big Night In on BBC One and raise money for the charities and projects who need more support than ever as Covid-19 strains resources everywhere.

First shift is taken, as is traditional, by Lenny Henry and Davina McCall – joined, not too closely of course, by Matt Baker this time – whose recreation of normality for the viewer in what must, in the studio, be an absolutely bizarre set-up is unimpeachable proof of their professional talents.

Ricky Gervais’s After Life struggles second time round, as 21st-century London’s answer to Peaky Blinders gets off to a violent start. And how long can live shows survive via video-call?

After Life (Netflix)
Gangs of London (Sky Atlantic)
Emergence (Fox)
Twin (BBC Four) | iPlayer
The Graham Norton Show (BBC One) | iPlayer
The Mash Report (BBC Two) | iPlayer
Have I Got News for You (BBC One) | iPlayer

Ricky Gervais is, take your pick, ever reinventive (a la Madonna, Lady Gaga, the royals) or ever mutating (the worst kind of spirally viruses, the royals). A year ago, in Tony Johnson, subject of his latest drama, After Life, he combined aspects of past characters: The Office’s gloriously unself-aware Brent; the more savvy Andy Millman in Extras; the saccharine platitudes that sat so ill in Derek alongside gags about mental health or other disabilities. After Life was a surprising runaway hit on Netflix, for an arguably slight comedy about a very singular, small-town man’s depression after the loss of his wife, and how an angry man learned to be kind again.

Broadcaster considers plans to restart production on many TV series halted by pandemic

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The BBC could put actors and directors in quarantine and remove the studio audience from Strictly Come Dancing under plans to help restart television production after the coronavirus pandemic shut down much of the industry.

The proposals, which could affect everything from EastEnders to light entertainment and high-end dramas, are being considered as broadcasters face up to the prospect of enormous gaps in their schedules after much of British television production was stopped dead in mid-March.

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As new actors revive the Talking Heads TV monologues, the poignant tales they tell will resonate more than ever with viewers in lockdown

The decision, announced last week by BBC Drama, to revive and recast Alan Bennett’s landmark Talking Heads series was driven as much by necessity as sentiment. Monologue, delivered to camera, is just about the only form of acting possible at the moment. But, still, there will be a special poignancy in hearing how the mini-dramas sound a generation later in their new voices – Imelda Staunton instead of Patricia Routledge, Kristen Scott Thomas in place of Eileen Atkins, Tamsin Greig for Penelope Wilton, Jodie Comer instead of Julie Walters.

Bennett wrote the first of the monologues in 1987, giving voice, in his 50s, to lives that in several cases were facing their last act. He himself turns 86 next week, about the same age as Thora Hird was when he cast her so memorably in Waiting for the Telegram in the last of the second series of monologues in 1998.

Related: Jodie Comer to star in new BBC production of Alan Bennett's Talking Heads

The sector is wrestling with issues such as staging plays with social distancing, or running rollercoasters half full

The row between cinema chains and Universal Studios over the digital-only release of Trolls World Tour is one of may crises racking the entertainment industry during the coronavirus lockdown. The challenges range from working out how to stage live performances to managing social distancing in queues for rollercoasters. Here are some of the issues they face.

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