“Thank you, Shepherd, for allowing us to be your wives. Come down upon me and fill me with yourself.” Collective ecstasy – and a lot of wool – is the order of the day in this cult led by Michael, aka Shepherd (Michiel Huisman; Game of Thrones; The Haunting of Hill House), a handsome, bearded chap who looks soft and likeable but has a sadistic Jesus complex.

What news on the rialto? Not much of particular buoyancy or light in the Peter Mackie Burns film Rialto, which takes a grimly focused view of a married Irishman's struggle with his same-sex leanings. Adapted by Mark O'Halloran from his 2011 stage two-hander Trade, the movie is anchored by superb performances from a trio of talents who will be known to theatre devotees.

The world premiere of Stephen Beresford’s new hourlong play, livestreamed to home audiences in four performances as part of the Old Vic’s In Camera series, was postponed a couple of times due to Andrew Scott undergoing minor surgery. Thankfully, the actor has fully recovered, and his performance of this affecting piece was certainly worth the wait.

Last night I dreamt I went to Manderley again, except somebody had renamed it The House at Knockdara. This was the title of the first novel by Michael Callaghan, Cambridge literature don, aspiring writer and serial seducer of his female students. Played here by Emmett J Scanlan, in young-fogey tweeds and Ernest Hemingway beard, Callaghan had “F for Fake” running all the way through him.

Be careful what you wish for. Turns out the dream that most bands yearn for isn't all it's cracked up to be. Fontaines DC's debut album, Dogrel went large (and won a Mercury Prize nomination and BBC 6 Music's Album of the Year). They toured like crazy and nearly imploded. But, just a year later, they're back. And this time it's personal. The title song perhaps explains the progression "that was the year of the sneer now the real thing's here".

Loneliness haunts the solo song – not simply all those solitary wanderers and defiant wayfarers of the Lied tradition, but the forsaken lovers and questing pilgrims who fill the folk-song repertoire of many lands. So, amid the general poignancy of the Wigmore Hall’s lockdown concerts for Radio 3, the vocal performances have carried a special frisson.

It’s taken over 18 years for Artemis Fowl to reach the big screen, with Miramax originally buying the rights in 2001. Finally, Disney have brought the world’s youngest criminal mastermind to life, but was it worth the wait? Well, the fact it’s appearing on streaming service Disney+ rather than waiting for a cinematic release probably answers that question.

As a musician I spend so much time on the road that a day spent at home is a rarity. And now, with the restrictions we all face, and concerts an impossibility, I am becoming a keen gardener and making a lot of soup. It is also a time of reflection. There is nothing like being told to stay at home to make you think about how home came about, particularly when it’s abroad. My 20-year-old self would never have dreamt of anywhere other than my home city London as base.

Bruckner: Symphony No. 9 Pittsburgh Symphony Orchestra/Manfred Honeck (Reference Recordings)

Veterans of the first series of Blood will be familiar with writer Sophie Petzal’s fondness for leading the viewer up the garden path and round the mulberry bush as the story develops. Get ready to go through it all again.