Andrew Graham-Dixon’s villainous alter ego got a second airing tonight in his exploration of 19th-century Britain’s love of all things Gothic. Last week we saw him hanging about in decaying graveyards, or appearing, wraithlike in a dank corner of a Gothic ruin, while ravens circled portentously overhead (main picture). We saw him relating tales of horror and mystery in flickering candlelight, or peering through the flames of an infernal bonfire, and in tonight’s episode, always one for going the extra mile, he was touring Victorian sewers, with only a rat for company.

The night before he was locked up, Chris Huhne had that Grayson Perry round for tuna steaks. Who knew? Perry was embarking on a series of portraits about identity at a crossroads, and can there be a more public crisis of identity than a Cabinet minister going to prison? But first Perry wanted to get to know his subject. Huhne was resistant to probing. “People are not like Russian dolls,” he volunteered. “They are exactly like Russian dolls!” countered Perry.

The initial challenge – and there should be no underestimating the scale of it – of Nick Read’s documentary Russia's Toughest Prison - The Condemned must have been getting into a location which the great majority of its inmates will never leave. That was likely facilitated by the acquaintance between the film’s producer Mark Franchetti, the longterm Moscow correspondent of The Sunday Times, and Subkhan Dadashov, the laconic governor of Penal Colony 56: Franchetti had been the first foreigner to visit this remote prison in the Urals at the beginning of the last decade.

The chatty, loquacious, exuberant Simon Schama, whose seminal 1987 book on Holland in the 17^th century, The Embarrassment of Riches, transformed the anglophone’s understanding of the Dutch Republic, describes himself as historian, writer, art critic, cook, BBC presenter. He is also the University Professor of History and Art History at Columbia, and has written 14 substantial and even significant books. On several of his subjects, from British art, slavery in America and landscape in culture to the history of the Jews, he has presented popular television series.

It takes some brass neck to look at one of the most destructive events in London’s history, which destroyed a chunk of the poorest part of the city and left an estimated 70,000 people homeless, and think that it wasn’t dramatic enough. But that must have been what went through the head of Tom Bradby, the political editor of ITV News, when he was writing his four-part drama: we were deeply immersed in espionage, war, assassination plots, kidnap and a spendthrift, philandering king before as much as a single spark began to fly.

That there is something of the Sherlock Holmes about Dr John Thackery – the Shakespeare-quoting, opium and cocaine-addicted surgeon in this Steve Soderbergh-directed 10-part drama set in a New York hospital in 1900 – hasn’t gone unnoted. But although Thackery, played with a certain gruff charm by Brit actor Clive Owen, is clearly a maverick with a clandestine habit, a happy outcome for his patients is rarely on the cards.

It's on later in the year than usual, but The Apprentice is back. Yippee! For the tenth series Lord Sugar and his producers have done a little tinkering with the format - enough to keep it fresh but without upsetting its dedicated fans, of which I am one - and last night 20 hopefuls lined up in the boardroom (instead of 16, as previously) to hear him run them through their paces.

Michael Keaton, Val Kilmer, George Clooney, Christian Bale and (coming soon) Ben Affleck have all had a go at playing the fully-formed Caped Crusader, though for some Adam West's ludicrously campy Sixties incarnation remains the score to beat. But apparently that's still not enough.

Cosmonauts: How Russia Won the Space Race (*****) arrived at a strange time. With its remarkable accumulation of Soviet archive material and interviews with key figures, including Alexei Leonov, the first man to walk in space, the programme must have been a long time in the making and the fruit of lengthy collaboration of a kind that might not be so readily forthcoming today. Michael Lachmann’s film rightly reminded us of the achievements of the Soviet space programme and how in many areas it “beat” the Americans.

It was tempting to assume that Homeland [****] had died along with Damian Lewis's Brody, last seen dangling gruesomely from a crane in Tehran at the end of series three, but this tense and uncomfortable season-opener suggested that all may not be lost. Carrie Mathison (Claire Danes) has been promoted to CIA station chief in Kabul, but she's finding that the personal price of professional success is growing exorbitantly high.