After a season that sought to redefine what Westworld could become, the finale exposed the confused arc, before limping towards an emotionally weak ending.

In the time since the show’s inception four years ago, arguments have raged as to whether Westworld is a dud or a cult classic. For every dedicated fan, there’s someone out there crying, "The Matrix did it first!" and complaining that the plot didn’t make sense (it did).  

Watching Run, HBO’s newest seven-part series, feels like off-the-rails escapism: it’s a fast-paced thriller about dropping everything, chasing intimacy and courting danger. It’s a vicarious adventure centred on a woman who has spent too long stuck at home. Run has hit our screens at the best possible time.

With over one hundred books to her name and several hugely popular TV spin-offs, including the Tracy Beaker adventures, Jacqueline Wilson takes a no-nonsense approach to children’s fiction that reflects the realities of jigsaw families, mental and divorce. In 2012, in something of a detour from the rest of her work, she wrote a sequel of sorts to E. Nesbit’s beloved magical children’s classic, Five Children and It.  

The cringe-making horror of adolescent schooldays is vividly re-lived in this US import (on Sky Comedy), but with a cunning twist. Its supposedly confused and hormonal leads are played by 30-somethings Maya Erskine and Anna Konkle, who blend themselves in with a cast of actual 13-year-olds with uncanny skill.

The multi-talented Kal Penn (Harold and Kumar, Designated Survivor, House) took a two-year acting sabbatical in 2009 to work for the Obama administration. So he is, in theory, ideally placed to co-create, with Matt Murray, a semi-political TV sitcom about a New York City councillor.

Curfew (Sky One) is a new drama that begins as it means to go on, roaring from nought to 60 with a wildly implausible car chase. An electric blue McLaren is haring and weaving through London, with the law in hot pursuit. Forget the computer-generated high-speed U-turn and the armour-plated panda cars.

There’s a moment in The Deuce (Sky Atlantic) – a rare quiet one – where a working girl called Darlene is visiting a kindly old gent on her books. He has A Tale of Two Cities on his TV, the old black and white version with Dirk Bogarde as Sydney Carton preparing to do a far far better thing. As the final shot of the guillotine pulls back over the Paris rooftops, Darlene (played by Dominique Fishback) can’t believe what she’s just seen.

The latest test of the nation’s perseverance and patience – a snap election called just before the negotiations for Brexit are due to start – seemed like an extraordinary act of hubris at the start. The initial billing of “Strong and stable” vs “Coalition of chaos”, was a statement that implied the Tories’ lead was so big that only by ganging together could the other parties beat it.

And so we come to the end of the most spiteful, divisive and downright deceitful political campaign in living memory. And while we’re on the Ds, I’ll have disingenuous too, thanks. The remain camp was captained by a mildly Eurosceptic prime minister, who called the referendum in an attempt to secure an election victory, while Brexit has been spearheaded by a shambolic, and mildly Europhile, thatched homunculus, who simply wants the other guy’s job. We are, essentially, collateral damage in a spectacularly damaging career move.