Cast your mind back to lockdown. Is there anything you would want to keep from those times? Masks, no. Boris, no, no, no. Joe Wicks can stay, as can supermarket deliveries. But what of Staged (BBC1, Wednesday)?

A run of short films featuring one actor video-calling another to moan about lockdown and rehearse a play sounds too luvvie for words. But cast David Tennant and Michael Sheen and have them go through the same fun house of emotions as the rest of us - boredom, despair, hysteria - and watch the plaudits mount.

But now we are on series three, and there is no more lockdown. Should there be a Staged? Happily, the same elements that made the show a hit initially remain. Tennant is still magnificently annoying, a human bluebottle of a man, while grumpy Sheen makes Eeyore look like Bruno Tonioli.

The gags are good and insidery enough to make viewers feel part of the gang, and a new layer has been added, so now it’s a behind-the-scenes documentary about a show about a radio play. I think. That might be a touch of luvviness too far; we’ll keep an eye on it. For now, Staged looks like an Episodes-style hit that gets better with each series.

Sheen also appeared in Best Interests (BBC1, Monday-Tuesday). That was where any connection ended. This heavily-trailed drama was written by Jack Thorne (Help), and starred Sheen and Sharon Horgan playing the parents of a disabled daughter, Marnie (Niamh Moriarty). With the girl’s condition deteriorating fast, doctors had advised withdrawal of care. Mum resolved to fight the decision, and dad didn’t know what to do for the best because in this situation there was no best.

Best Interests was as tough to watch as you would imagine. How could it not be? The viewer was being asked to venture beyond the headlines of news stories they would usually flee from. Consider it a form of self-protection. Hogan herself has said in interviews that she was unable to watch the finished piece.

Thorne and his brilliant cast certainly did not make it easy for us. There were lines here that landed like a punch in the guts. Terrible things said that could never be unsaid. Harrowing as it was, it seemed wrong to turn away.

All I can say is that Best Interests made me view the debate about life and the right to decide in ways I had not considered before. What more can one ask of drama than it pose questions and be honest enough to deliver answers you may not like?

Sarah Beeny vs Cancer (Channel 4, Monday) opened three weeks after the presenter was diagnosed. Beeny would be the first to acknowledge she had certain factors in her favour. The cancer was detected early, she had speedy access to treatment (which should be the same everywhere but shamefully is not), and she had a strong support network, including her husband and four sons. Even so, she was not spared some of the sheer bloody horribleness of the disease that claimed her mother at the age of 39, when Sarah was just ten years old.

Ultimately this was a positive documentary that wanted to pass on the message that certain types of cancer, if caught early and treated, are survivable. It achieved that while not giving false hope. A tricky balance to strike, but Beeny managed it.

What in the name of Prince Harry is the deal with Queen of Oz (BBC1, Friday)? Catherine Tate’s new comedy has her playing a disgraced British princess sent to Australia to stop the country from ditching the monarchy. Don’t worry, it made no sense to me either.

The warning signs were there from the off, with various bods from the BBC popping up in cameos. Cosy.

Any sitcom about the royals will always have a job competing with reality, but Channel 4’s The Windsors show there’s plenty of comedy mileage left if the writing is sharp enough. Queen of Oz was barely making an effort, as if giving Tate her own show was enough on its own to ensure success. It wasn’t.

I was reminded of one of Tate’s genuinely funny creations, dear old Nana, and wondered what she would make of this. “You spent my licence fee on this load of old rubbish? What a ******* liberty!”

Paid a visit to The Full Monty (Disney+) to see how it was holding up under new management. It has been 26 years since the tale of unemployed steelworkers turned strippers charmed cinema audiences.

Verdict? Not too shabby. On the sugary side, there is an actual shaggy dog and Sheffield is suspiciously sunny for much of the time. But Disney have wisely stuck with writer Simon Beaufoy, and most of the original cast, led by Robert Carlyle as the hapless Gaz, so there is still an edge to the comedy. On the downer side, everyone is 26 years older. Thank the Lord that hasn’t happened to us.