The idea of writing nine 30-minute dramas (or more like 26 minutes when you take the ads out) about the thrills and calamities of first-dating might have been asking for trouble, but seems to be working out unexpectedly well so far. The crafty part about the concept (dreamed up by Bryan Skins Elsley) is that instead of having to explain the setup and establish the characters' relationships, you just watch two strangers starting the process from scratch, so they're doing the job for you.

Assured, warm and comfy, Dustin Hoffman’s directorial debut Quartet is a tasteful farce of froths and strops. Hoffman’s always wanted to direct and it’s not like he hasn’t tried.

Pantomime is one of the great festive traditions and the version of Dick Whittington envisaged by John Bishop in this one-off comedy drama checked off every single one of the clichés. Taking a writer’s credit alongside Jonathan Harvey of Gimme Gimme Gimme fame, the Liverpool comic drew on his experiences on regional stages near the beginning of his showbiz career in pulling together the script.

The uproarious success of Downton Abbey, now firmly established as one of Britain's great national pastimes, seems to have had the happy effect of persuading ITV1 that it must make more drama. Thus, the autumn of 2012 has been ushered in by new ITV dramas swirling about our ears like tumbling leaves, from The Last Weekend and The Scapegoat to the comeback of Downton itself.

Hedda Gabler – the doomy tragedy, the one with the pistol, the “female Hamlet”. We all know the score when it comes to Ibsen. All, that is, except apparently for Sheridan Smith, who recently admitted in an interview that she hadn’t heard of the play before she was asked to take on the lead.

Jimmy McGovern’s one-man mission to boost the quota of Scousers seen on the small screen continues in “Stephen’s Story” – the latest bout of button-pushing misery otherwise known as Accused. Seventeen-year-old Stephen Cartwright’s beloved Irish mother is bedridden but this doesn’t stop him table-ending his girlfriend. McGovern and co-writer Danny Brocklehurst thus immediately raise the twin pillars of drama: death and sex.

Tender, funny and overwhelmingly moving, Trevor Nunn’s revival of this 1942 drama by Terence Rattigan – part of the playwright’s centenary-year celebrations – is a masterly piece of theatre. The big box-office draw may be Sienna Miller, but she’s by no means the star of the show: if there is one, it’s Sheridan Smith, whose performance is nothing short of glorious.

Audiences genuinely love Legally Blonde, and all but the most churlish of critics should crack plenty a smile, as well. A feel-good show that - unusually, in my experience - actually does leave you on a high, this stage adaptation of the 2001 Reese Witherspoon film benefits immeasurably from a rapturous star performance from Sheridan Smith as the unlikely heroine of Harvard Law School, Elle Woods.