Cops on the box… don’t we just love ‘em? From Jimmy Perez and Ted Hastings to Inspector Reid from Ripper Street and Stella Gibson from The Fall the list is endless, but obviously we need more. The copper seems to have become the battered Everyperson we can dump all our fear, loathing and anxiety onto.

The BBC have billed this as a “four-part thriller about sexual politics in the modern workplace”, which is slightly misleading because it looks as though it’s taking place in about 1983.

When business and politics collide, the result may very well be corruption. Such is the case in this taut, streamlined thriller from Norway, one of many gems from the Walter Presents stable.

“Will they never learn?” people must have been screaming as they watched the opening episode of the 16^th series of The Apprentice – I certainly was. After all these years, the hopefuls vying to take Lord Sugar's £250,000 to invest in their business idea seem blissfully unaware of how daft they look with their strutting boasts. I know it's a competition, but not in how to sound the most foolish.

This latest outing from the astonishingly prolific Jack and Harry Williams (The Missing, Baptiste, The Widow, Strangers etc) gives itself a huge leg-up by exploiting the epic lonely spaces of the Australian Outback.

There's so much stuff on TV, in all its many multi-streaming hats, that I somehow haven't got around to watching Succession. Apparently it's the best TV show ever made.

Oh well, there's bound to be another one along in a minute. Theartsdesk's eagle-eyed reviewers have found plenty to amuse themseves with elsewhere during 2021, and we parade our particular predilections below. Adam Sweeting

The title might provoke a quick double-take. Wasn’t A Very British Scandal that series about Jeremy Thorpe and Norman Scott, starring Hugh Grant and Ben Whishaw?

Friday night was Mark Gatiss night.

Would you be willing to play the guinea pig in a designer-superhome created by a deranged architect? That is one question posed by this four-part drama (adapted by JP Delaney from his own novel), a kind of haunted house mystery underpinned by the damaged psychological states of its protagonists.

I sympathised with the prosecuting barrister when she put it to the court that the accused, a man called Hero (Samuel Adewunmi), was “using his closing speech to construct a work of fiction”.