Netflix’s new detective-noir is a somewhat cosmopolitan beast. It’s written and directed by an American, Scott Frank, derived from a novel, Mercy, by the Danish crime writer Jussi Adler-Olsen, and set in Edinburgh (as well as other flavourful Scottish locations). There are plenty of Scots in the cast too, although it’s the very English Matthew Goode (Downton Abbey, The Crown etc) who takes the lead role of DCI Carl Morck.

As this two-part documentary vividly illustrates, it has been a wild ride for Baroness Mone of Mayfair, the self-made businesswoman who emerged from Dennistoun in Glasgow’s East End in the Nineties and created the Ultimo Bra. This revolutionary undergarment ingeniously enhanced the wearer’s cleavage, using a silicon gel to mimic the feel of real breast tissue.

In the guided tour of Britain’s cathedral cities that is the primetime TV detective series, the spotlight has now landed on Canterbury. Code of Silence frequently inserts a dramatic aerial shot of the city, its streets radiating out from the towering ecclesiastical landmark at its centre, to remind us where we are.

The appalling destruction of Pan Am’s flight 103 over Lockerbie in 1988 was put under the spotlight in January this year in Sky Atlantic’s Lockerbie: A Search for Truth. This focused on the dogged and agonising search for truth by Jim Swire (played by Colin Firth), whose daughter Flora was killed in the attack, and raised a host of possibilities and theories about who did it and why.

The trunk in the title is a luxury item, worth 50 million won – just north of £27,000 – shown sinking in deep water in the opening credits. It weaves through one of the classiest recent collaborations between Netflix and Korean TV, a haunting psychological drama that’s balm to the soul after the mob-handed violence on offer here at home. 

Following on from the first series of Malpractice in 2023, this second season again probes into issues of medical malfeasance and institutional corruption, in an environment where patient care frequently comes second to internal politics and self-preservation. The protagonist first time around was Niamh Algar’s Dr Lucinda Edwards, but this time it’s Tom Hughes as Dr James Ford, who works as a psychiatric registrar at the fictional Queen Mother’s University Hospital.

The art of the conman is persuading their victim to fool themselves, which is the premise that lies at the core of this Australian drama series. 

The success of Netflix’s Drive to Survive not only provoked a viewer-stampede towards the world’s most expensive sport, but also triggered a chain reaction of similar behind-the-scenes sports documentaries. Suddenly we had Break Point (tennis), Full Swing (golf) and Tour de France: Unchained (cycling, obviously), hotly pursued by series on rugby, soccer and American Indiecar racing.

Documentaries about sports stars are now a dime a dozen, but you can only be as good as your subject matter. We know Andrew Flintoff (usually known as Freddie) is a larger-than-life character who has had his fair share of both success and failure, but in this new film for Disney+, directed by John Dower, he emerges as a charismatic personality who can inspire undying devotion among friends and teammates while being brutally honest about his own shortcomings.

It had begun to seem that Jon Hamm, whatever other roles he might appear in, was destined to be forever remembered exclusively as Mad Men’s Don Draper. Character and actor had made such a perfect fit that it was impossible to prise them apart. I always liked the idea of Hamm as a retro-James Bond set in Ian Fleming’s original 1950s period, but they wouldn’t listen.