As part of BBC4’s continued course of musical regression therapy, we revisited a time of wide-eyed innocence, when ideas were big and pupils even bigger. The Sixties had swung and now they were set to start spinning as people looked to the past for inspiration, and to the future with aspiration.

I always like watching Matthew Macfadyen, so I was appalled to see him horribly slain barely 20 minutes into this gutsy new adaptation of Bernard Cornwell's Saxon Stories. Not just slain, but then nailed to a post by the Vikings, who put a flipping great bolt in his mouth and hammered it through the back of his head.

A haunted house, a mental asylum, a witch’s coven, a circus freak show. Check, check, check. And check. Is there no horror trope left unturned in American Horror Story? Nope. And that’s precisely the point – familiarity and postmodern camp go a long way to explaining the runaway success of the series. 

As a YouTube comic Mawaan Rizwan is clearly at ease on screen, and right at the beginning of How Gay Is Pakistan? he was telling us about coming out as gay to his family last year: it was “the worst news ever for Pakistani parents”. Director Masood Khan’s film, occasionally hanging somewhat uneasily between its location on BBC Three and its origin in Current Affairs, followed him back to the country of his birth to seek an answer to the question: What would his life be like if he’d stayed in Pakistan as a kid?

It's been the most heavily signposted illness in drama history. A twinge here. An "Oof" there. Chekhov's roiling guts. And tonight, His Lordship's mystery complaint finally took centre stage, in a scene that led one to wonder exactly how to remove three pints of aristocratic blood from a pristine white tablecloth.

Here comes the President, and with him a timely reminder about what the Chinese have been digging up over the past 40 years or so to further demonstrate their exceptional imperial history over the past two millennia. Treasures of the Jade Empire rather breathlessly told us of revelatory excavations of the tombs of the Han Emperors, and the regional kings they nominated to act as surrogate rulers over their gigantic empire – its boundaries closely related to China today.

It’s huge, it’s just huge, said Benedict Cumberbatch, struggling to express the scale of the challenge that playing Hamlet presents.

Where do they find them? The candidates for each new series of The Apprentice, that is. It's not as if they don't know the score by now - humiliation, first in the boardroom by Lord Sugar and his clunking putdowns, and then on nationwide television. But it makes good telly, so hoorah for series 11, with 18 more numpties vying for Sugar's £250,000 investment in their business plan.

Crime drama is a bit like the wheel. There’s only so much scope for reinvention. People try to come up with novelties all the time, then you turn on the telly and realise everyone else has had the same idea. Rumpled cops in macs, ex-cops haunted by the past, cops with overbearing bosses descended from Jane Tennison – they’re all out there, all the time. Even the casting department is running on empty. It’s been precisely five days since Unforgotten unveiled a chirpy detective played by Nicola Walker.

Stunningly reinvented in series four, Homeland sustained the momentum with this tense and menacing fifth season opener. Carrie Mathison (Claire Danes) has now quit the CIA for a new job in Berlin, where she's working as head of security for billionaire philanthropist Otto Düring (Sebastian Koch). The past, however, is not giving up without a fight.