People tend to know three things about J.Edgar Hoover: that he was in charge of America’s internal security for four decades; that he kept secret files on the political elite; and that the most powerful unelected man in the nation's history liked to throw on ladies’ attire. Although sadly only two of the above turn out to be true, the facts have not stopped Clint Eastwood and Leonardo DiCaprio from at least flirting with the elephant in the room.

“Who is Mr Putin?” That was the question being bandied about by journalists and Kremlin watchers in the months after Boris Yeltsin’s out-of-the-blue New Year’s Eve 1999 resignation. Vladimir Putin, ex-KGB operative in East Germany, was prominent in the St Petersburg city administration through the early 1990s; called to Moscow in 1996, he held various Kremlin jobs, before being appointed head of the FSB (the KGB’s successor) in July 1998, and in August 1999 Russia’s prime minister.

This two-part documentary, which ended last night with teary recollections from a handful of well-known faces, wasn’t really a “secret history”. The history of grammar schools and their wholesale demolition by a Labour government is pretty widely known. But even that was fairly lightly skipped over. No, this was really a love letter, written to a long dead mistress who had served the writer well.

Much has been made of the quality of drama currently or recently on British television - Downton Abbey, Sherlock, Cranford, any number of Dickens adaptations we are about to see during 2012 - and rightly so. But as The Good Wife starts its third season on More4, it's worth noting that when it comes to modern-day serials, the Americans are more than a match for British bonnets and book adaptations.

Knitwear fetishists won’t be as thrilled with Borgen as they were with The Killing, but based on the first two episodes of the Danish political drama, Birgitte Nyborg Christensen is a match for Sarah Lund. She’s as likely to stray from what she ought to be doing as Lund and just as adept as spotting what no else can see.

Although now a major figure on the world stage, Aung San Suu Kyi began as a reluctant dissident and figure of protest against the military regime of her native Burma. Recent months have seen her finally released from house arrest and set to play a considerable role in the future politics of her benighted country. Such latest developments are beyond the scope of Luc Besson’s film The Lady.

I didn’t really know that much about Sarah Palin. I remember being kind of blown away when she got up on that stage with all those kids and gave that rather brilliant speech which seemed to be an enormous breath of a fresh air for the Republican Party. This film was done before the Tucson shootings. I don’t think she’s revealed just how horrible she could really be. To that extent I think I had a fairly open mind. I was aware of her contempt for education and established politicians but I had enough curiosity to give her the benefit of the doubt.

In Rock’n’Roll, the play by Tom Stoppard, two characters haunt the stage without actually appearing on it. One of them, Syd Barrett, absconded from Pink Floyd to lead the life of a hermit. The other, Václav Havel, gave up the life of an internationally acclaimed, domestically banned playwright to become a head of state. Only one of them was in the audience for the premiere at the Royal Court. And it wasn’t the hermit.

When he was diagnosed with cancer of the oesophagus, Christopher Hitchens carried on talking. He gave a number of riveting interviews – with Lynn Barber in The Sunday Times, Andrew Anthony in The Observer, Mick Brown in The Telegraph – as he prepared himself for a journey which, for the author of the bestselling God Is Not Great, would not involve meeting any sort of maker.

It was several minutes into The National Anthem, Charlie Brooker's latest dramatic output on Channel 4 after his excellent 2008 mini-series Dead Set, a zombie-laden satire about reality television, before I laughed. I say that not as a criticism – far from from it – but as a huge compliment. For Brooker neatly confounded our expectations by making the opening scenes (shown as part of the Black Mirror season) appear as if they were part of a serious political thriller.