Michelle Williams put in a stunning performance in this tale of a dying woman’s quest to have an orgasm. It’s not just clever, tender and blackly comic – it’s a beautiful meditation on what it means to live (and die) well

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Dying for Sex is about a fortysomething woman leaving her husband and having lots of experimental sex after she is diagnosed with terminal cancer. Except, of course, it’s not. It’s about so much more than that. By the end, the sex scenes – many and varied though they may be – are just a bagatelle.

Partly this is because there is no false hope offered here. None of the sexy set pieces are a full escape from reality. The series is based on a true story and the podcast made about Molly Kochan’s decision to cram years of sexual experience into the little time she was told she had left before metastasised breast cancer killed her. Whatever Molly does, whatever we see her do – enjoy or not enjoy – we know it will not change the ultimate outcome. This is the frame in which all the scenes of sex parties, age-gapped hookups, discovery of “pup play” and mastering the tricky latches on cock cages in Molly’s pursuit of her first partnered orgasm are set.

Will Sharpe and Paul Bettany’s new TV drama is flat, airless and banal. It’s a crass affair with a thin, half-hearted performance from Sharpe

Here’s my position. If you are going to create a miniseries about the life, death and music of one of the defining geniuses of the last 1,000 years of western civilisation, and if you are going to use as your source material a script for a great play that was made into a near-perfect film beloved by almost everyone for its wit and immense, profound themes rendered accessible and moving, and for the fact that it had two of the most extraordinary performances ever committed to what may still then have been celluloid – well, you had better be pretty damn sure that you are bringing something new, exciting, different, richer, cleverer, even more illuminating to the table. Otherwise you are going to look like a bit of a berk.

And so, my friends, to the new six-part drama Amadeus, about the life, death and music of Wolfgang A Mozart, one of the defining geniuses of the last 1,000 years of western history. Co-creators Joe Barton and Julian Farino have retained parts of Peter Shaffer’s 1979 play and the 1984 film starring Tom Hulce as Mozart and F Murray Abraham as his rival composer Antonio Salieri, reworked them into lesser forms, and surrounded them with lesser – flat, airless, banal – scenes. Shaffer’s driving interests in the corrupting power of envy, the survival of religious faith under duress, the mystery of talent and what we expect to come from genius are mostly reduced to pale, petty versions of themselves. The performances – well, we’ll come to those.