It's a poignant moment for the return of this superior French police drama. With the Paris terrorist crisis the top story across all media, we rejoin our fictional police captain Laure Berthaud to find her still in emotional fragments following the death of her lover Sami in a terrorist bomb blast at the end of series four. It's to the show's credit that its unvarnished portrait of policing and the compromises and political chicanery that surround it doesn't pale in the glare of real-life events.

Before the second series of The Fall began, I was watching Gillian Anderson being interviewed on This Morning. While the subject matter of the drama - a tense game of cat and mouse between Anderson’s DSI Stella Gibson and Jamie Dornan’s perverted serial killer - was never going to translate well to daytime telly, but I was still a little taken aback by Amanda Holden’s fawning over the apparent sexiness of Dornan’s character.

So now we know. Sort of. The missing clue was tweezered into view in time for the final episode of The Missing and the fate of little Olly Hughes has been revealed. Up to a point. To those reading this without having seen the dénouement, it gives only a little away to report that the plot involving the search for a ring of paedophiles has been a gigantic red herring. Probably.

Not so much a national hero, more a national disgrace. That seems to be the current consensus on Peer Gynt as Norway moves forward from having canonized the wild-card wanderer of Ibsen's early epic. It’s now 200 years since Norway gained a constitution, and 114 since Peer first shone in the country's National Theatre, that elegant emblem of the Norwegian language. Where does this uniquely prosperous country stand today, spiritually speaking, and can Ibsen’s myth, creating as potent a figure as Oedipus, Hamlet, Don Juan or Faust, offer any answers?

This will have brought a nostalgic tear to the eye of fans of The Sweeney (the TV show, not the Ray Winstone movie) or GF Newman's still-shocking 1978 series Law and Order. The producers had rounded up seven retired policepersons and got them to spill some of the beans about what policing was like in the Sixties and Seventies.

“Your law is too soft. Make it more strict.” An Albanian illegal immigrant suspected of handling stolen goods was unimpressed by the courtesy extended to him by Bedfordshire Police. Too many pleases and thank yous, he complained. In Tirana the rozzers probably don’t ask you if you have any food allergies.

Derived from a Dennis Lehane short story called Animal Rescue, at one level The Drop is indeed a tale of one man and his dog, a pit bull puppy rescued from a dustbin in Brooklyn. But given the opportunity to develop the story into a screenplay for Belgian director Michaël R Roskam (of Bullhead fame), Lehane has created a subtly detailed milieu of crushed hopes, pervasive fear and simmering criminality.

Given the long shadow cast by the disappearance of Madeleine McCann, it’s sort of surprising that no drama department has commissioned something like The Missing before. It’s not the same story of course. The child alluded to in the title is a five-year-old boy, not a three-year-old girl, and he’s abducted in France rather than Portugal. But it’s impossible not to be aware of the story’s factual parallel. And the parental trauma as the awful truth dawns is, one can only imagine, exactly the same.

Michael Keaton, Val Kilmer, George Clooney, Christian Bale and (coming soon) Ben Affleck have all had a go at playing the fully-formed Caped Crusader, though for some Adam West's ludicrously campy Sixties incarnation remains the score to beat. But apparently that's still not enough.

Jack Thorne's new eight-part drama is set in a fictional but recognisable small English village, Overton, where life is centred on farming and racehorses. A green and pleasant land? Not so much; this is a series with a group of pill-popping, shagging teenagers at its heart – well, it is from the man who wrote Skins.