Australian drama has come on in leaps and bounds since Skippy the Bush Kangaroo, The Sullivans and Prisoner: Cell Block H. While Neighbours and Home and Away continue to play in the sand, other shows – The Secret Life of Us, The Dr Blake Mysteries and Cloud Street – display more ambition. Their reach may sometimes exceed their grasp but that’s what TV is for. Do check out the five-star metrosexual comedy drama Please Like Me on Amazon Prime. You’ll like it.

On the face of it a murder mystery, The Night Of develops steadily into a panoramic survey of the American justice and prison system and attitudes to race and class. Produced by BBC Drama and HBO, it's based on the BBC's 2008 series Criminal Justice (which starred Ben Whishaw). The good news is you can watch all eight episodes right away on Now TV.

H Division has a new home in Whitechapel that basks in the white heat of the technological revolution. The police station not only has a telephone but a “microreader” that allows the user to check thousands of miniaturised card indexes. Alas, a wry smile is all the viewer is likely to get from this opening episode of the fourth season. Nothing happens until the last ten minutes.

Canada has been Uncle Sam’s body-double in countless drama productions. Shooting on location is easier and cheaper north of the border. One twinkly city skyline looks very much like another. 19-2 is set in and around car number two as it patrols the clean streets of the 19th district of Montreal. And yes, from the very first moments – “Maybe we should call for back-up?” – it feels like we’ve been here before.

In the end, the swirling fragments of Marcella all fell together quite nicely, though Anna Friel's portrayal of Marcella Backland never made you think you were watching a real detective in action. Afflicted with memory loss, blackouts and intermittent "fugue states", she was more like a series of devices and obfuscations to make sure you never had a fighting chance of being certain about what was going on.

In its final episode Undercover tied up a lot of loose ends and introduced a number of new ones. The biggest loose end to remain unaddressed was pretty big. Nick Johnson was the alias of a policeman who in 1996 went undercover to spy on black activist Michael Antwi and his lawyer Maya Cobbina. Nick promptly fell in love with Maya; they married and had children.

At last, after three series, Line of Duty delivered a denouement that felt like a satisfying jackhammer to the solar plexus. In the first series the bent copper under investigation escaped justice by jumping in front of a lorry. In the second there were more loose ends than are generally produced by a rope factory. It turns out that patience is a virtue and we should all have had faith.

The BBC Drama department can’t be faulted for reading the news. Last year London Spy riffed on the mystery of the corpse of the spy found in a suitcase in an MI6 safehouse. Now Undercover sinks its teeth into another juicy set of headlines about coppers who go into such deep cover they sire children with the activists they’re spying on.

An innocently-intended Friday night out turns into something fearsome indeed in I See You, a Royal Court co-production with the Market Theatre, Johannesburg, that puts the tensions of post-apartheid South Africa under a sorrowful microscope.

“It’s routine, it’s procedure.” “It’s wank, it’s toss.” As you can tell, Happy Valley is back. If Sally Wainwright made bespoke ironmongery or dry stone walls or exceedingly good cakes, her work would come by royal appointment. Instead you can tell she’s good because she accumulates awards, including most recently a couple of BAFTAs for series one, and attracts actors from the farthest-flung corners of northern drama such as Cucumber and Downton’s downstairs, all gagging to speak her pearly dialogue.