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Our Girl, BBC One

Lisa-Marie Ferla Monday, 22 September 2014

If Molly Dawes (Lacey Turner) had to find one act of heroism with which to fully incorporate herself into her new squadron before the credits rolled, she couldn’t have planned it better: winched aboard a helicopter, her fist in the groin of the one-night stand who had been undermining her since her arrival to stop him bleeding to death, while Paramore - or some fearsome girl-rock on a more acceptable budget - throbbed in the background.

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Downton Abbey, Series 5, ITV

Adam Sweeting Monday, 22 September 2014

As unavoidable as death and taxes, as inevitable as the rotation of the seasons, Downton Abbey has created the illusion of time-hallowed permanence in a mere four years.

Legends, Sky 1 / The Strain, Watch

Lisa-Marie Ferla Thursday, 18 September 2014

Let's face it, there are so many big-budget, densely plotted US TV imports around now that it seems a little hackneyed to compare them to buses - but even by those standards, scheduling the two newest ones concurrently seems a little careless. Your choice: Legends, an FBI procedural with a twist from Homeland show-runner Howard Gordon; or Guillermo del Toro's vampire virus horror The Strain.

This World: Ireland's Lost Babies, BBC Two

Jasper Rees Thursday, 18 September 2014

We think we know the story. As recounted in Philomena, in the 1950s and ‘60s the Irish state and Catholic Church colluded in putting children born out of wedlock up for adoption. A small minority was sent to America, causing a lifetime of trauma and longing in both mothers and children. For portraying one such mother who went in search of her son, Judi Dench was nominated for an Oscar, and the woman she played met Pope Francis.

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Glue, E4

Veronica Lee Tuesday, 16 September 2014

Jack Thorne's new eight-part drama is set in a fictional but recognisable small English village, Overton, where life is centred on farming and racehorses. A green and pleasant land? Not so much; this is a series with a group of pill-popping, shagging teenagers at its heart – well, it is from the man who wrote Skins.

Cilla, ITV

Adam Sweeting Tuesday, 16 September 2014

With Cilla Black still fighting fit and eminently telly-worthy at 71, it feels a bit odd to find a three-part dramatisation of her life popping up on ITV.

The Village, Series 2 Finale, BBC One

Tom Birchenough Monday, 15 September 2014

You may have had to search for his name in the closing credits of this final episode of series two of The Village, but all plaudits were due to its composer Adrian Corker, who gave us a great score which majored in atonality. The acting here remained top class, and the landscapes were still unsurpassable (more on which later), but for conveying a sense of unease in the air, it was the music that brought the atmosphere home.

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British Art at War: Bomberg, Sickert and Nash, BBC Four

Marina Vaizey Sunday, 14 September 2014

At the end of this absorbing documentary about the art – and life – of Paul Nash we visited his tombstone in a Buckinghamshire churchyard, accompanying writer and presenter Andrew Graham-Dixon as he laid sunflowers on the grave. He reminded us that Nash saw the sunflower as a symbol for the soul, turning to the sun; indeed one of his last paintings was “Solstice of the Sunflower”.

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Boardwalk Empire, Series 5, Sky Atlantic

Adam Sweeting Saturday, 13 September 2014

Fans of this dense and rewarding odyssey of Prohibition and American gangsterism are doubtless still reeling from the news that its fifth series will be the last, despite the riotous applause which greeted series four. This unwelcome state of affairs perhaps accounted for the vaguely dissociated and dream-like quality of this season opener, which was as much concerned with filling in some of Nucky Thompson's early history as with driving the plot forward into the 1930s.

Tyrant, Fox

Adam Sweeting Saturday, 13 September 2014

Created by Gideon Raff, mastermind of Homeland and its Israeli forerunner Prisoners of War, and produced by Howard Gordon (who worked on Homeland and 24), Tyrant parades its roots on its sleeve. Its mix of action thriller and family drama, all souped up by a stiff dose of combustibly unstable Middle East politics, adds up to a slick entertainment formula, but do such deadly and complex issues deserve to be handled quite so glibly?