You can just hear Måns Mårlind and Björn Stein, the clever-sick Swedes behind Midnight Sun, cackling as they cooked up the pre-title sequence to the first episode of their new series. A grizzled man in a grey suit wakes up to find himself strapped to a helicopter rotor-blade. The engine starts. What follows is enough to give anyone quite a turn.

It happened in Monterey, but we’re not entirely sure what yet. Adapted from the novel by Australian writer Liane Moriarty, with the action transplanted from a small town in Oz to the splendid oceanside scenery of Monterey, California, Big Little Lies oozes Hollywood pedigree.

In the mindset of Nigel Farage and his biddable followers, the route from Asia into Europe throngs with undesirables. Their threatening faces can be plastered on a vote-winning poster. In this calamitous failure of empathy, young men – hordes of them, to use our former Prime Minister’s lexical choice - are seen to be bent on kettling Western women and hoovering up benefits. Leave.eu’s dehumanising propaganda was a degrading moment of national shame which found its twin in the US’s decision to close its borders to travellers from seven predominantly Muslim countries.

The masochistic reality show heralds a culture with an inferiority complex. There have been documentary re-running the race to the South Pole. Countless series place modern Britons in historical contexts where the dietary, sanitary and heating arrangements leave much to be desired. At the heart of them all is an anxiety that mod cons – radiators, white goods, frozen readymeals – have softened us. Are we simply not fit to lace the boots of our forebears?

The prequel is here to stay. In the end every popular TV drama flogs itself to death. The star wants out, or the writer dies, or the original source material runs dry, or the public falls asleep. And there’s nowhere else to go. Nowhere, that is, apart from back in time. Hence the retro-fitted Endeavour and Gotham and Better Call Saul. In these risk-averse times, the execs enjoy the reassurance that the hard yards of establishing a character have already been gained.

Five years ago BBC Panorama went undercover, sending in a reporter with a hidden camera to expose the horror going on at Winterbourne View, a hospital for people with learning disabilities and/or autism. There was outrage as the nation watched Winterbourne’s patients being tortured, degraded and abused by staff. After the programme aired, it made headlines and debates in Parliament led to promises of major reform.

Can women have it all? (Stop me if you’ve already heard this one). This is the premise of Joe Ahearne’s new three-part drama, set in the offices of a successful firm of architects in Glasgow. But he’s a bloke, what would he know about it?

To Westminster and Meet the Lords, a series which Radio Times assures me follows “the larger-than-life characters” in one of our “most idiosyncratic and important institutions”. Obviously it was shot well before the current Brexit deliberations in the Lords, and this first of three films was largely concerned with the passage of the government’s housing bill last year.

The first series of Broadchurch was a gigantic hit four years ago, though 2015’s follow-up suffered a bit of a slow puncture. Can this third and supposedly final outing restore the show to its former glories?

Can something be gained in translation? From its title The Swingers promises much. Much more than the original Dutch title Nieuwe Buren, which the caption in the opening credit sequence translates as The Neighbours. Someone in syndication has asked themselves the question: who the hell watches Dutch TV dramas called The Neighbours (aside from captive Dutch audiences)? And made the decision to pep things up for the international audience.