Welcome to Commonworld, in the year 2143. It’s been built above the ruins of the old world, and the opening sequence of Sky One’s new interstellar thriller showed us the crumbling remains of Tower Bridge and St Paul’s Cathedral mouldering beneath glittering futuristic super-scrapers and sweeping skyways.

Alfred Hitchcock’s 1954 thriller Rear Window has spawned its fair share of copycats, including Disturbia and Brian de Palma’s Femme Fatale.

As the finishing line begins to materialise through the haze of fear, suspicion and zany acronyms, the pace of this sixth series of Line of Duty (BBC One) has hotted up appreciably. In earlier episodes, there sometimes seemed to be a lack of intensity, and even the fabled interview scenes didn’t always grip like they used to. Maybe filming under Covid conditions had something to do with it.

It has been a hard coming for this RSC Winter’s Tale. Erica Whyman’s production was cancelled by the virus days before its premiere last spring, with plans to stage it in the autumn frustrated by the second lockdown. This broadcast version, retaining that original cast in full, is the first time that a RSC production has gone first to screen, scheduled as part of the BBC's Lights Up season.

Read our review of the season finale here

Dark family dramas set in unglamorous, unprosperous communities in the north-east of the USA have become a genre unto themselves. One thinks here of the work of writers such as Kenneth Lonergan (Manchester by the Sea) and Dennis Lehane (Mystic River and Gone, Baby, Gone), and maybe Chuck Hogan and The Town for good measure.

As Line of Duty aficionados debate the identity of H and wonder who DCI Joanne Davidson shares her DNA with, this new three-part series from BBC Two investigates the history of real-life corruption in the Metropolitan Police.

What may have happened here is that an intriguing book has been turned into a not so great TV series. Too Close was Natalie Daniels’s well-received first novel, and she has adapted it for this ITV three-parter under her real name of Clara Salaman. She used to play DS Claire Stanton in The Bill 20 years ago.

It’s no surprise that 30 years on, the individuals most closely connected to the world’s biggest art heist are showing their age. Anne Hawley was a young woman just months into her directorship of the Isabella Stewart Gardner Museum in Boston when thieves made off with 13 works of art, including a Chinese vase and drawings by Degas, a Vermeer and Rembrandt’s only seascape.

Channel 5 is rather partial to its four-night dramas, though recent effort The Drowning seemed to have sneaked unseen past the quality control department on its way to the screen. It pulled in the viewers though, and Intruder will probably do the same.

Director of the Courtauld Institute, Surveyor of the Queen’s Pictures and a particular expert on the art of Poussin, Sir Anthony Blunt spent decades at the epicentre of the royal family and the British Establishment. He was, as the so-called “Fourth Man” of the Cambridge espionage ring, also a spy for the Russians who handed over countless documents and nuggets of top secret information during and after World War Two, including super-sensitive details about the D-Day landings.