Can't get enough Scandi Noir? Then why not make your own? With the aid of Hans Rosenfeldt, creator of The Bridge and installed here as screenwriter, ITV has.

The BBC Drama department can’t be faulted for reading the news. Last year London Spy riffed on the mystery of the corpse of the spy found in a suitcase in an MI6 safehouse. Now Undercover sinks its teeth into another juicy set of headlines about coppers who go into such deep cover they sire children with the activists they’re spying on.

With a slightly changed cast and set-up from its Hogmanay-themed pilot, screened on New Year’s Eve 2015, this was the first of a six-part sitcom (written by Simon Carlyle and Gregor Sharp) about the residents of a street in suburban Glasgow.

If you were expecting Rowan Atkinson to say "bibble" or make those Mr Bean gurgling noises, you came to the wrong classic detective drama. To play George Simenon's timeless French detective in a story subtitled "Maigret Sets a Trap", a melancholy, interiorised Atkinson spent most of his time sitting and thinking. Despite the mumsy ministrations of Mme Maigret (alias Lucy Cohu), he relied mostly on his pipe for company as he struggled to unmask a serial killer of women in Montmartre.

So at a stroke, The Night Manager has proved that appointment-to-view television is not yet dead in the age of Netflix, and that the BBC can do itself a favour in battling against the best American dramas if it can find a US production partner (AMC in this case). Perhaps its most vital lesson was that if you want to put bums on seats, pay whatever it takes to get Tom Hiddleston's up on the screen.

Blue Eyes, the latest imported Swedish drama, has a lot of hype to live up to. After Borgen, Wallander, The Killing and the rest, Scandi noir is scarcely a novelty in itself. Yet Blue Eyes brings the ultra-topical subject of the far right and the immigration debate to the more familiar territory of murders in sun-starved pinescapes. More dramatic still, it depicts the rise of an anti-immigration political party in the country that has been, until recently at least, Europe’s beacon of tolerance and openness.

Two years after its brilliant second series, which put Keeley Hawes's DI Lindsay Denton through the wringer with harrowing intensity, Jed Mercurio's bent-coppers drama is back. This time it's Daniel Mays, as Sgt Danny Waldron, sitting in the crosshairs of Ted Hastings and his AC12 anti-corruption team.

It’s surprising how few dramas there are about the autistic spectrum. Dustin Hoffman’s turn in Rain Man (1988) misleadingly suggested that all sufferers are also geniuses. On British television Kid in the Corner (2001) was inspired by Tony Marchant’s experience as the parent of a child with Asperger’s (although the boy in the drama had ADHD).

It’s another military centenary, and another conundrum for broadcasters – how to tell a sombre story in an engaging way. The 1916 Dublin Easter Rising is an iconic event, but if we’re honest, not one many viewers will know in detail. The televisual warhorses for this kind of reminiscence – black-and-white portrait photos, sombre brass bands, and many talking heads atop camphor-scented tweed – are respectful but just a little bit dull. But to spice it up by choosing a paunchy, cross-dressing comedian in a curly wig to present? Dangerously flippant, surely?  

There was an eye-popping moment of high-risk bravura at the climax of Happy Valley. Murderous detective John Wadsworth (Kevin Doyle) had finally been cornered on a railway bridge and was all for leaping off. Sergeant Catherine Cawood (Sarah Lancashire), wheezing hard from the chase, tried to talk him away from the edge but hadn’t done the relevant training. Wadsworth had, however, with a 100 percent success rate to prove it. So she asked him what she ought to be saying, and he told her.