This was the first of four programmes looking at houses made of extraordinary materials in various environments, some extreme. We began with "Mountain", and further explorations are promised to "Coast", "Forest" and "Underground". The presenters were a contrasting pair: the rake-thin and wiry architect Piers Taylor, and actress and property developer Caroline Quentin, both at ease conversationally to the camera and with each other. 

Historic unsolved murders have become their own mini-genre, with the likes of Cold Case lurking in the small print of the schedules and Silent Witness still going strong in its 20th series. A hit the first time out in 2015, Unforgotten is back with a new investigation of another mystery cadaver.

We're back at Friday Street, the crumbling cop shop on the wrong side of Manchester, where DI Viv Deering marshals her squad of anarchic misfits to fight crime. Paul Abbott's rude but not crude police comedy drama was a great hit first time round and managed to be riotously unPC while unravelling a complicated serial murder case. And, as with the late, great Cagney and Lacey, some of the best scenes were in the ladies' loo; two of Deering's closest aides are women (played by Elaine Cassidy and Alexandra Roach).

Sherlock’s back in the here and now, and not before time. Twelve months ago, Benedict Cumberbatch’s Holmes laid down his mobile phone to return to Edwardian London for a plate-spinning deer-stalking mind-warping one-off. The Abominable Bride, though good in parts, caused a mass outbreak of head-scratching. Had Team Gatiss/Moffat fallen a little too in love with metatextual rebooting and gone and got lost in their own hall of mirrors?

The hyperbole began as soon as the voiceover did: “For most of us Judi Dench is M…” So much for Bernard Lee. The implication was that if you can remember him, then Judi Dench: All the World’s Her Stage was not for you. After all, she played James Bond’s boss for 17 years – until, at Daniel Craig’s suggestion, the sky fell in on her in Skyfall.

Yorkshire-born screenwriter Sally Wainwright has carved a distinguished niche for herself as chronicler of that brooding, beautiful region’s social and familial dramas. After the romance of Last Tango in Halifax and the gritty panorama of Happy Valley, she has settled on perhaps the quintessential troubled Yorkshire family, with awesome bleakness on the side: the Brontës.

If there's one big question hanging over the television industry, it's "how long can the old broadcast networks survive in the new era of subscription and downloading services?" No doubt there will be a variety of answers, with different hybrid arrangements and partnerships springing up to deliver programming across multiple formats. From the viewer's point of view, it's a pain to have to keep subscribing to multiple providers such as Netflix or Amazon, not to mention all the extra devices we now have sticking out of the back of the TV. On the other hand, have viewers ever had it so good?

A 90-minute biographical documentary about Bruce Springsteen, you may think, is for Springsteen fans only. But really anyone who is interested in fame, friendship, family relationships and the creative process will have enjoyed this – a revealing mix of personal testimony, The Boss reading from his recently released autobiography of the same title, Springsteen family home movies, and rarely seen footage of his early career.

A year ago to the day the BBC laid on a festive slaughter of Agatha Christie characters. And Then There Were None had the look of a well-dressed abattoir as her victims toppled like ninepins at the hands of an invisible slayer. The scriptwriter Sarah Phelps has returned to the queen of crime for this year’s two-part Christmas murder mystery. The source for The Witness for the Prosecution is a mere 23-page story in which there’s really only house room for one corpse.

The last time BBC TV headed over to West Side Story, it landed itself with a contradiction. Christopher Swann’s 1985 fly-on-the-wall documentary The Making of West Side Story – about Leonard Bernstein recording his celebrated score with a cast of opera singers – bagged the prestigious Prix Italia, but the actual material was a wildly unidiomatic misfire. The reverse was true of BBC2’s Boxing Day special West Side Stories – The Making Of A Classic.