A traditional Korean house has appeared at Tate Modern. And with its neat brickwork, beautifully carved roof beams and lattice work screens, this charming dwelling looks decidedly out of place, and somewhat ghostly. Go closer and you realise that, improbably, the full-sized building is made of paper. It’s the work of South Korean artist Do Ho Suh (main picture).

It's a very big deal for musical Prague: Czechia's symphonic epic, the six tone poems that make up Smetana's Má vlast (My Homeland), launches every Prague Spring Festival at the Smetana Hall, but in the Czech Philharmonic's opulent home, the Rudolfinum, the work hasn't appeared in any of its seasons for 49 years.

This year the state of Israel marks its 70th birthday. Which means it will also be the year Palestinians remember the Nakba, the catastrophe, the mass dispossession.

It was a long time coming, but Homeland’s sixth series at last awoke from its early-season slumbers to put on a late surge over the closing episodes. For a while, it had seemed that the story was barely advancing at all, as the screen was self-indulgently hogged by Carrie Mathison’s emotional life, particularly her anguish over her daughter being taken into care.

The big surprise of this new-season opener of Homeland was that black ops specialist Peter Quinn (Rupert Friend) didn't die at the end of series 5 after all, despite the fact that we last saw him apparently moribund in his hospital bed, having penned a poignant adieu to sometime paramour Carrie Mathison. But, after surviving a hefty dose of sarin gas, he isn't the man she used to know.

Earlier this year, Sky Living showed The Enfield Haunting, a tale of eerie events in a 1970s council house. One of its stars was Timothy Spall, playing a paranormal researcher. Maybe he had a premonition that his son Rafe would carry on the family's supernatural tradition in the leading role of Harry Price: Ghost Hunter  (★★★★★).

Stunningly reinvented in series four, Homeland sustained the momentum with this tense and menacing fifth season opener. Carrie Mathison (Claire Danes) has now quit the CIA for a new job in Berlin, where she's working as head of security for billionaire philanthropist Otto Düring (Sebastian Koch). The past, however, is not giving up without a fight.

Back for its third series [***], Sally Wainwright's saga of Yorkshire folk continues to tread a precarious line between syrupy soapfulness and a family drama with sharp little teeth. Its excellent cast helps to carry it over the worst of the soggy bits, and its best moments have a way of catching you unawares. You'd have to guess that it also scores strongly by not being crammed with serial killers, paedophiles and corrupt cops.

It was tempting to assume that Homeland [****] had died along with Damian Lewis's Brody, last seen dangling gruesomely from a crane in Tehran at the end of series three, but this tense and uncomfortable season-opener suggested that all may not be lost. Carrie Mathison (Claire Danes) has been promoted to CIA station chief in Kabul, but she's finding that the personal price of professional success is growing exorbitantly high.

Homeland's coming home? Well not exactly, but the conclusion to this crazy, mixed-up third series did suddenly feel as if the writers had finally managed to express something that they'd been groping towards for the last three months. Namely, if the show was to stay on the road (series four is in the works), Brody had to go.