The Channel 5 drama Power: The Downfall of Huw Edwards does what it says on the tin. We watch the fêted newsreader from initial online contact with a 17-year-old from Cardiff - called “Ryan Davies“ here - to his arrest three years later, his sense of omnipotence shattered. Edwards’s family are noises off, and his work is represented by one BBC producer; only Ryan’s life is explored in any depth.

The stern and glowering demeanour of David Morrissey’s character, Michael Polly, looms over this six-part drama like the embodiment of a malignant fate. Polly is the headmaster of St Bartholomew’s private school in Bristol, a vintage establishment replete with cloisters, venerable and palatial buildings and playing fields that seem to stretch for miles (Downside School in Somerset was the actual shooting location.)

Another day, another few million bucks for Taylor Sheridan. Hot on the heels of Marshals, his latest Yellowstone spin-off, his inexorable march through the TV schedules continues with this saga of the Clyburn family. 

Berlin always makes a flavourful setting for labyrinthine stories of betrayal and deception (see Le Carre and Len Deighton for further details), and it doesn’t disappoint in this absorbing German-made thriller. Writer Paul Coates and director Lennart Ruff have constructed a taut and twisty narrative that gradually pulls together various themes dating back many years, set in a cool and chilly-looking Berlin.The city’s notorious Wall has ceased to exist, but ghosts and murky echoes from the old East-West past still haunt the protagonists.

It’s that time of year again. The 2026 Formula 1 season kicks off in Melbourne this coming Sunday, and as night follows day, here’s the latest series of Drive to Survive to pump up the global appetite for ridiculously fast cars, backstage dramas, grumpy team bosses and nakedly ambitious drivers. This is also the last time we’ll see the “old” generation of cars before they’re replaced by this year’s models, powered by ultra-evolved, even more eco-friendly hybrid engines.

The brainchild of Derry Girls creator Lisa McGee, this is a strange and tortuous tale which defies easy categorisation. There’s plenty of humour in it but it isn’t a comedy, and it also lays out a long trail of tragedy and pain spanning generations. You might argue that there’s a bit of redemption on offer, but then again you might not.

In his illustrious career, director Michael Waldman has profiled all manner of divas, from Elizabeth Taylor and Lord Byron to Karl Lagerfeld and Christian Louboutin. So why not Tony Blair?

Somewhere in the bowels of the BBC, far away from the overheated stories of serial killers and female mutilation that clamour for the audience’s attention elsewhere on British telly, there is an oasis of calm. This little patch is the fiefdom of Mackenzie Crook.

Would you want to marry a spy? After watching Betrayal, probably not.

Writer David Eldridge has used the paradigm of the secret world as a means of exploring relationships both personal and professional, and how one is liable to corrode and distort the other. A quote from the 13th Century Persian poet Rumi is dropped in as a clue – “the truth was a mirror in the hands of God. It fell and broke into pieces.”

Location, location, location... a tangible sense of place and local identity can make or break a TV drama, and Under Salt Marsh exploits this to the full. It’s a haunting murder mystery, triggered by the discovery of the body of eight-year-schoolboy Cefin in a drainage ditch near the small town of Morfa Halen (that’s Welsh for “salt marsh”).