If you were expecting Rowan Atkinson to say "bibble" or make those Mr Bean gurgling noises, you came to the wrong classic detective drama. To play George Simenon's timeless French detective in a story subtitled "Maigret Sets a Trap", a melancholy, interiorised Atkinson spent most of his time sitting and thinking. Despite the mumsy ministrations of Mme Maigret (alias Lucy Cohu), he relied mostly on his pipe for company as he struggled to unmask a serial killer of women in Montmartre.

As the camera lingered lovingly over landscaped gardens and ravishing English countryside with a stately home parked squarely in the back of the frame, one could hardly avoid slipping into a Downtonesque reverie. Even more so when the assembled posh personages arrayed prettily on the greensward began to discuss marriage and inheritance, triggering echoes of the fabled Downton "entail".

When it comes to losing power, and powers failing, Michael Gambon has once again proved himself the ruler of choice. The actor who gave us his Lear when he was only just hitting his forties has had three decades of gurning and grouching to ready himself for Churchill’s Secret, and those earlier royal storm rantings even got a wry mention in Charles Sturridge’s nicely autumnal, rather more sotto voce drama.

With a raft of high-quality digital effects available, real stunts might seem a little old-fashioned. In truth, the art of the stunt is alive and well: according to veteran performer Tracy Caudle, not only is it often cheaper to film the real thing, but “a computerised fall never looks quite right.” She has filmed scenes for TV and film, and with credits including Skyfall, Shaun of the Dead, Midsomer Murders and Doctor Who, chances are you’ve seen her fall to her death, crash a car or come to grisly grief one way or another, many times over.

We have been here before – literally. Morse and his colleagues discreetly observe a gangster’s funeral in Kensal Green cemetery – just as they did in Promised Land, one of the best episodes of Inspector Morse, first broadcast in March 1991. A quarter of a century has passed (along with John Thaw) yet ITV are still trying to breath new life into the ratings warhorse.

The miracle of galloping digital technology has become a mixed blessing. We have iPads, space stations and self-parking cars. On the other hand, we also have what might be perfectly good TV programmes made ludicrous by absurd CGI monsters.

Interesting idea – a Western set in the Yorkshire Dales in the 1870s. Jessica Raine, spotted last year as the other Boleyn girl in Wolf Hall and evidently keen to put Call the Midwife as far behind her as possible, stars as Annie Quantain, a schoolmaster's widow forced to leave the family home thanks to a mountain of debts. As the bailiffs cart away the furniture, she's horrified to find herself a penniless vagrant.

Earlier this year, Sky Living showed The Enfield Haunting, a tale of eerie events in a 1970s council house. One of its stars was Timothy Spall, playing a paranormal researcher. Maybe he had a premonition that his son Rafe would carry on the family's supernatural tradition in the leading role of Harry Price: Ghost Hunter  (★★★★★).

On Monday ITV showed BAFTA Celebrates Downton Abbey, in which a massed gathering of cast and crew plus a few celebrity guests toasted Downton's five-year stampede to global acclaim. Its creator Julian Fellowes waddled onstage and told an anecdote about how he'd been accosted by a Downton fan while browsing in a Barnes & Noble bookshop in New York. "Just let Edith be happy!" she wailed at him.

ITV’s Manchester crime series Prey has, like a Premiership football club bought by a billionaire, returned for a new season with the same name but different faces. But these aren’t the shiny young faces of virtue that populate the footballing aristocracy. Prey focuses on compromised officers of the law: righteous protagonists gone to the bad, who lend the plot intriguing shades of grey that match its moral tone with the weather and scenery.