The haphazardly-stitched together Big Little Lies finale became unrecognisable from the hundreds of other cable TV finales that believe in the performance of closure and not in the act of it. In under an hour, it reiterated what most of us were too afraid to admit: The charm of Big Little Lies was in it being a mini-series.

No matter how painful it may seem, Mufasa’s death in The Lion King is actually essential viewing. It’s a coming-of-age moment, a rite of passage that must be undertaken to better understand this big, bad world.

As the final season of Suits airs today, I can’t process the fact that this will be the last time I will see Harvey Specter sit down in his office with the finest scotch in hand, surrounded by signed basketballs, and an enviable LP collection. To paraphrase one of his evergreen catchphrases, anyone can do his job, but no one can be him.

If you grew up with The Lion King soundtrack, it’s never going to leave you. Back when I was a five-year-old, I used to drive my mother crazy with the Zulu chants from “Circle of Life”. Today, I do the same to my girlfriend when our morning alarm doesn’t do the job.

Anyone who’s seen When Harry Met Sally as many times as I have will tell you this: its genius evolves and matures as you (hopefully) do. Maybe, when you realise you want to spend the rest of your life with somebody, you really do want the rest of your life to start as soon as possible. But men and women can be friends. The sex part doesn’t always get in the way. Does it? Oh, who the hell knows.

In her speech after winning the Emmys for Big Little Lies, Reese Witherspoon spoke of how important it was to “bring women to the front of their own stories and make them the heroes of their own stories.” Eighteen years ago, that’s exactly what she did in Legally Blonde. Witherspoon’s Elle Woods embodied the unspoken rules of sisterhood.

The very elements – smart kids with a scientific bent of mind, a mysterious girl with psychokinetic and telepathic abilities, a monster who is difficult to defeat, and adults who carry immense emotional baggage – that made Stranger Things a phenomenon, are the things that are making it go from good to predictable every year. Truth is, it ain’t getting any stranger than this.

Spider-Man: Far from Home is proof that the MCU still has fresh stories to tell, even as the curtain comes down on its most successful period to date. In the first film of Marvel’s Phase Two, Spider-Man might be far from home, but he’s closer to reality than ever before.

In the last six years, Lootera’s legacy has assumed a life of its own. Now, the film feels so much like a personal indulgence: It wordlessly captures a specific kind of yearning that we often fail to define during the length and breadth of our own lives. Even though we recognise it the moment we see it.

Played by Jason Alexander, George Costanza hit TV screens with Seinfeld exactly 30 years ago. For every self-regarding, ripped male Adonis on television, George’s consistency with incompetence and failure has served as the reminder of middle-age realism.