Watching Netflix’s film “Diana the Musical” was a guilty pleasure. By any theatrical standards, it’s not very good. Certainly not as compelling as “The Crown.” But there’s still something intriguing about a musical interpretation of the Diana/Charles/Camilla scandal.

From the beginning, as she sings “Underestimated,” it’s obvious that Diana (Jeanna de Waal) is a hapless heroine, facing two adversaries. There’s scheming adulteress Camilla Parker-Bowles (Erin Davies), encouraging her lover Charles (Roe Hartrampf) to marry this naïve, virginal 19 year-old to produce Windsor heirs. Plus the omnipresent, trenchcoat-clad paparazzi, relentlessly hounding Diana.

Supporting players include the Queen and Diana’s step-grandmother/romance novelist Barbara Cartland (both played by Judy Kaye), along with Diana’s butler Paul Burrell (Bruce Dow), her older sister Sarah Spencer (Holly Butler), and hunky lover James Hewitt (Garth Keegan), emerging bare-chested like a Chippendale’s dancer.

One of the more memorably bizarre moments is the fight-ring staging as the smirking Princess of Wales confronts her cheeky rival with lyrics heralding “the thrilla’ in Manila with Diana and Camilla.”

With ironic book/lyrics by JoeDiPietro and simpering music/lyrics by Bon Jovi’s keyboardist David Bryan (“Memphis” Tony winners), it’s directed by Christopher Ashley (“Come from Away” Tony winner) with costumes by William Ivey Long – filmed last summer at Manhattan’s Longacre Theater.

 “Diana the Musical” opens on Broadway in November, and producer Frank Marshall admits the COVID-19 pandemic spurred the filming, telling The Hollywood Reporter: “We had the sets. We had the cast ready to go – everything was kind of in place at the theater. Plus, there was the success of the filmed version of ‘Hamilton’ for Disney+.”

“This is a way to reach a broader audience with a Broadway show,” Marshall continues. “I don’t think it competes at all with the stage version. I think they help each other, like ‘Chicago.’”

And die-hard Royal-watchers know there’s Pablo Larrain’s upcoming movie “Spencer” with Kristin Steward as Diana during a weekend at Sandringham, the Queen’s country estate.

On the Granger Gauge, “Diana the Musical” is a snarky, splashy, superficial 6, streaming on Netflix.

When production in Australia began on the new Hulu series “Nine Perfect Strangers,” Nicole Kidman refused to meet the rest of the cast until she was in character as beatific Masha Dmitrichenko, the mysteriously serene leader of a holistic wellness center who uses questionable treatments and experimental practices on her clients.

“We were all waiting for her arrival and entrance,” Regina Hall, who plays Carmel Schneider, an anguished housewife whose husband left her for a younger woman, told Variety. “Suddenly, there she was – with this Russian accent – and I actually did not hear what she actually sounded like until we wrapped.”

Adapted by David E. Kelley and John-Henry Butterworth from Liane Moriarty’s 2018 novel, it’s the most-watched Hulu Original ever.

The story begins with nine people arriving for a 10-day retreat at a Northern California retreat called Tranquillum House, run by enigmatic Masha with her two assistants: Yao (Manny Jacinto) and Delilah (Tiffany Boone). During their stay at her resort, Masha promises to heal and transform her guests.

Slurping Masha’s individually prepared, psychedelic smoothies are the tormented Marconi family, including Napoleon (Michael Shannon), his wife Heather (Asher Keddie) and their grown daughter Zoe (Grace Van Patten); they’re working through grief after the tragic death of Zoe’s twin brother, Zach (Hal Cumpston).

The ensemble includes social media ‘influencer’ Jessica (Sandra Weaving) and her wealthy lottery-winning husband Ben Chandler (Melvin Gregg) who seek marriage counseling, while best-selling author Frances Welly (Melissa McCarthy), cranky former football star Tony Hogburn (Bobby Cannavale), and cellphone-connected Lars Lee (Luke Evans) struggle with their own individual issues.

Melissa McCarthy’s real-life husband Ben Falcone plays Paul Drabble, the grifter who ‘cruelly catfished’ Frances and left her heartbroken.

On the Granger Gauge, “Nine Perfect Strangers” is a slyly cryptic, slightly sinister 7, streaming on Hulu.

When Connie Hochman was a youngster, she took classes at the School of American Ballet, where George Balanchine reigned supreme. She danced with the New York City Ballet and the Pennsylvania Ballet before becoming a ballet teacher and documenting “In Balanchine’s Classroom.”

As time went on, Ms. Hockman became increasingly intrigued with charismatic Balanchine. Thinking of writing a book about him, she began to talk with his dancers in 2007 and soon realized that telling his story required a more visual medium. Many of her interviews, along with never-before-seen archival footage, are incorporated into this intriguing documentary.

Born in Russia, George Balanchine studied at the Imperial Ballet School in St. Petersburg and worked with Sergei Diaghilev’s Ballet Russes in Paris. In 1933, he moved from Europe to New York, where he helped found the School of American Ballet and the City Ballet. With his unique interpretation of classical dance, he revolutionized ballet in the United States.

Focusing on the extremely arduous morning class that Balanchine conducted every day, Hochman chronicles the growth and creative development of Heather Watts, Suki Schorer, Gloria Govrin, Merrill Ashley, along with Edward Villela and Jacques d’Amboise, who later founded their own companies.

Although Balanchine was relaxed and focused when he choreographed, he would not let outsiders watch his class. “He really pushed the dancers,” Hochman explains. “They were trying things. He wanted them to feel unselfconscious, uninhibited. If they fell or looked awkward, he wanted that privacy for them. This was their private place to learn and not be observed or judged.”

However, the perfectionist Balanchine did permit choreographer Jerome Robbins and dancer Christine Redpath to film his class, often acknowledging them by waving to the camera.

“There are a lot of misconceptions about Balanchine,” Hochman goes on. “I would love for people to get a sense of what a positive, groundbreaking force he was…It took a special kind of person to take that class…and this kind of artistic collaboration, this symbiosis was unique.”

On the Granger Gauge, “In Balanchine’s Classroom” is an exquisite, energetic 8, aimed specifically at balletomanes.