Marshland is set on possibly the last section of the Andalusian coastline which doesn’t have high-rise condos planted all over it. Imagine the Kentish marshes of Great Expectations, but with a harsh sun cracking the parched earth, while overhead the sky throngs with geese and flamingos. It’s in this inhospitable corner of Spain that young women keep disappearing, apparently lured away to the big city, never to be heard from again.

Poirot curls an eyebrow and Miss Marple twinkles, but there haven't been a lot of out-and-out laughs in Agatha Christie’s television career. Partners in Crime comes as a pleasurable surprise. It stars David Walliams and Jessica Raine as Tommy and Tuppence Beresford, a married couple on their uppers who take up detective work almost by accident.

Its title may hint at exotic worlds – a Western, even – but Robert Carlyle’s directorial debut is anything but. Carlyle himself plays the title character, one of life’s losers (“haunted tree” being one of the more memorable descriptions we get of him) who’s barely getting by as a Glasgow barber until the story, and his own unplanned actions, pitch his mundane existence to another level altogether.

Shall we blame The Bridge? The Swedish-Danish cop show opened for business with a scenario of outlandish gruesomeness: two halves of two corpses straddling the border between two countries. How to grab the viewer by the lapels, lesson one: hook them with a crazy, wacky, weird murder scene, so bonkers they’ll just have to hang around to find out what’s what.

The best that can be said of The Face of an Angel is that it’s based around an interesting idea. Instead of dramatising the story of the murder of British student Meredith Kercher in Perugia and what surrounded the case, director Michael Winterbottom has instead fashioned a film in which serial director of flop films Thomas Lang (Daniel Brühl) has arrived in Siena to scope out how to adapt a book on the case, then in its court appeal phase, by American journalist Simone Ford (Kate Beckinsale).

If the interface is simple, the story it gradually reveals is anything but. Her Story is an absolutely stunning piece of interactive storytelling, taking in murder, identity, history, yet driven simply by you typing a word or two into a search bar. You're presented with a beautifully rendered and retro computer screen – the kind of thing you'd expect to see coppers in The Bill tapping into. You simply decide what "search term(s)" you want, then hit go, and in return you get videos.

Truth isn't so much stranger than fiction as it is duller. That, at least, is the abiding impression left by True Story, the debut film from the adventuresome theatre director Rupert Goold that by rights ought to be considerably more exciting than it is. Bringing together Jonah Hill and James Franco in a cat-and-mouse game that begins when one appropriates the identity of the other, the result pounds away at its thesis about how similar these apparent adversaries are without extracting much meat from their encounters. 

Last year's debut series of True Detective starred Matthew McConaughey and Woody Harrelson in a fascinating slice of metaphysical Southern Gothic. That's all gone now though, because this time, writer Nic Pizzolatto has shunted the action out to the West Coast, to a small fictional city in the shadow of Los Angeles called Vinci. Apparently Pizzolatto based it on real-life Vernon, California, a city infamous for its history of endemic corruption.

Drama is all about secrets revealed, discoveries unfurled. Black Work was straight into that territory from the first scene. A man and a woman sat in a car, taking the solace from each other that they couldn’t find at home. As ever in such a scenario, you promptly wondered if or when they’d be caught in the act. This was especially so given that the woman was played by Sheridan Smith, who starred in just such an adultery drama not that long ago.

The Interceptor began as it didn’t mean to go on. A young boy of mixed race walked home through an estate and saw two men in a violent altercation. One, who was white, shot the other, who was black, presumably dead. “Dad!” called the boy. The murderer pointed the gun, realised he was aiming at his son, and scarpered.