Thirty years ago this month, the National Coal Board announced the closure of 20 pits that were deemed "uneconomic", a decision which would incur the loss of 20,000 jobs. Arthur Scargill, president of the National Union of Mineworkers, responded by calling a strike that would become the longest industrial dispute in British history. It was also probably the most bitter, as the recollections of the former miners and their wives assembled for this documentary painfully demonstrated.

You could boil down the content of this new HBO import to an info-bite that reads "two detectives hunt serial killer in Louisiana", but that wouldn't give you the faintest inkling of the pace, mood or texture of what's shaping up as a remarkable chunk of television. You may find it a little slow, and the Deep South accents sometimes cry out for explanatory surtitles, but you're liable to find it seeping into your consciousness like a troubling dream you can't shake off.

Mothers and their sons provided the framework for the latest story involving DCI Alan Banks, the character on whom ITV is pinning its hopes to fill the vacancy of the nation’s favourite detective now that Frost and Morse are no more. Peter Robinson’s series of novels has been enjoyed for more than 25 years, selling millions in the UK and translated into more than 20 languages, but it took until 2010 to reach our television screens with Stephen Tompkinson in the starring role.

“I like it when you’re a bastard,” George Gently growled at his sidekick, halfway into the first episode of this sixth series set in 1960s Northumberland, reassuring us that the partnership is very much back on when all appeared to be lost the last time around. And what a terrific opener it proved to be.

Such is the level of confidence that the Silent Witness producers have in their new ensemble that star turn Emilia Fox barely lifted a scalpel in the latest instalment of the BBC’s long-running crime series. Either that or she needed a night or two off, and who could blame her? It's now in its 17^th series, and Fox has stuck it out for more than half of them.

We've already been casting a revisionary eye over Lord Lucan, the Cold War, the Kennedy assassination and the Profumo affair. Last year Sheridan Smith portrayed Mrs Ronnie Biggs for ITV, but what took them so long to get around to the Great Train Robbery itself? Just hours too long for the real Ronnie Biggs, as it happened.

There’s a wonderful moment in Bruce Reynolds’s autobiography when he describes what became of his mate, a fellow train robber who had fled to Canada but was hunted down by the enigmatic Tommy Butler. Four and a half years after the Great Train Robbery in which crooks made off with £2.6million, Detective Chief Superintendent Butler had come to arrest Charlie Wilson and was knocking on his door.

Though greeted ambivalently when it made its debut at the end of 2012, Ripper Street has looked increasingly like TV's undervalued secret weapon as it has surged purposefully through this second series. Maybe the title was misjudged, suggesting it was just another gruesome and mist-shrouded Victorian murder mystery. Turns out it was much more than that.

If imitation is the sincerest form of flattery, the creators of Scandinavia's drama boom could be forgiven if they started behaving like a collection of hysterical Justin Biebers. Not only are their home-grown series hits around the world, they're also being slavishly copied by other broadcasters. The American version of The Killing has been followed by a US take on Danish/Swedish joint effort The Bridge, starring Diane Kruger and set on the Tex/Mex border. Now here's an Anglo-French spin on it, replacing the titular bridge with our beloved Channel Tunnel.

Not long ago James McAvoy finished a brutal run as Macbeth, and he’s back in Filth as another manic Scotsman hurtling towards self-destruction. The setting is Nineties Edinburgh, and his character, dodgy policeman Bruce Robertson, has a Machiavellian genius for getting one over on his copper colleagues, until his addiction-fuelled luck runs out, and he comes crashing down. He’s the first-person narrator for most of the story, and though repulsively believable, his grip on the narrative starts separating from reality.