How long can one decision follow you? How long can you hide from it? This is what underpins After the Wedding, a remake of Susanne Bier’s Efter brylluppet. It’s a drama shaped like a thriller, driven by emotion rather than intrigue.

That John le Carré! It turns out the agent isn’t so much running in the field as playing badminton. The master of the spy novel, of the foibles fantasies and sadnesses of our imperfect world – with the occasional excursion to excoriate Big Pharma and the like – has produced a magnificent slow burner.

Will Smith’s giant hand looms out of the screen towards you, gripping his gun’s trigger with weird realism.

What did we learn at the end of The Capture (BBC One)? A rice jar is a good place to hide USB sticks. It’s possible to withhold the opening credits for 11 whole minutes. A green coat works exceptionally well with light blue eyes and shoulder-length auburn hair. And Ben Chanan, who originated the script and directed it himself, is a television dramatist to watch, and watch again.

Three women decide to take over their husbands’ criminal activities, proving more than a match for the men who dominate the underworld. If this outline of The Kitchen sounds familiar, it’s because it was just last year that Steve McQueen’s lauded crime thriller Widows had much the same premise.

At first, the opening episode of Sky 1’s enticing new drama Temple looked like it was going to be mostly concerned with a heist gone wrong. A gang of bandits were busily stealing an enormous mountain of money when they were inadvertently locked inside the building they were robbing by their half-witted getaway driver.

It may help if you love the book. It was a runaway bestseller, so fans must be legion, but a suspenseful story which depends on memories being obscured by prodigious boozing, and featuring a trio of women best described as "flaky", all defining themselves too much by their relationships with unreliable men, is not to everyone's taste.

It sometimes feels like an age between Stranger Things seasons. Blame Netflix. The binge-watching trend that it helped solidify means that most people consume all eight hours of content in a single weekend. It comes and goes in a flash. But don’t let that fool you into thinking it’s a disposable snack, the TV equivalent of those famous Eggo pancakes.

John Farrow’s inexplicably neglected 1948 thriller The Big Clock is a difficult work to pigeonhole, combining traces of noir, screwball comedy and suspense.

Great, a new drama not by the Williams brothers. Instead it’s Dan Sefton’s second iteration of his medical thriller Trust Me, last seen in 2017 starring Jody Whittaker. Since she’s off being Doctor Who, the new series has a new cast, with John Hannah as Dr Archie Watson and Ashley Jensen as physio Debbie Dorrell.