Someone had moved in next door to the Palins. There was a camera shot of him, his face pixellated out. Apparently he was writing an exposé of the lady of the house. “I think it’s an invasion of our privacy and I don’t like it,” chirrupped Sarah Palin in that fingernails-on-a-blackboard voice of hers. “How would you feel if some dude who you knew was out to get you moved in 15 feet away from your kids?” I suspect I’d probably do something sane and rational like invite a camera crew into my home and make an access-all-areas reality TV series.

Crikey, no gongs whatsoever for ITV1's Downton Abbey, but you can't grumble about Sherlock lifting the Best Drama Series award at last night's Baftas. Steven Moffat and Mark Gatiss's ingenious update of Conan Doyle for BBC One was one of 2010's telly highlights, and you might have thought it would have earned the Leading Actor award for Benedict Cumberbatch.

Although in perhaps a less ostentatious manner than is familiar from Louis Theroux's documentaries, BBC Two's Wonderland last night nevertheless took the well-worn path of finding an odd-seeming community and examining its customs, morals and characters. In this case, it was the 20,000 Hasidic Jews of Stamford Hill, north-east London, who - we were led to believe - had some pretty funny ideas about love.

America has been very good to Hugh Laurie. His starring role as Dr Gregory House has shot him to the top of the earnings tree in US television, while comprehensively demolishing existing preconceptions of him as the blissfully idiotic Bertie Wooster, or the half-witted Prince Regent in Blackadder the Third. You might even say that with House, Laurie finally got the chance to play Blackadder.

Ian, who is having problems with erectile dysfunction, is freezing his wife out. Susan thinks she may be frigid which, understandably, her husband has taken personally. They’re all a lot better off than Dave, mind. He is in love with a woman who is ideal for him but he can’t seem to get past first base. It's making him suicidal. They all acknowledge there’s a problem, because they’re all in counselling with Relate. Slightly less conventionally, they’ve all agreed to have their sessions recorded and broadcast as part of a documentary. And pushing the boat out a little further, they appear on screen in the form of animations. Yes, you did read that correctly.

Oh joy upon joys, as The Apprentice returns. Those of you who watch while playing a drinking game in which you imbibe every time a cliché or preposterous, bombastic or ridiculously inflated statement is uttered will have to check in your livers again sometime soon, but I’m delighted to say that this new series allows another permutation of the game - have a glug every time you can spot the person who has watched every second of the previous six series but Hasn’t Learnt a Damned Thing.

It’s got more derivations than a dictionary. The Wire has been mentioned in dispatches, as have British conspiracy dramas such as State of Play and Edge of Darkness (in which something is rotten etc). And talking of Denmark, it comes along with The Killing obsessives doing cold turkey. Even its creator has cited the guiding hand of cynical, labyrinthine Seventies crime thrillers – Flight of the Condor and The Parallax View. Put them all together and have you got a series which exists entirely in the long shadow cast by narratives which have passed this way before? Or can The Shadow Line be its own thing?

One of the great pleasures of being a critic is watching a career develop, and Stewart Lee’s is one that I’ve had the pleasure of, so to speak, for many years.

There is little rational explanation for why Giles Coren and Sue Perkins are still on the television, other than that the trained ferrets have still not yet been found. They brought their inimitable, emetic style to royal weddings with last night's Giles and Sue's Royal Wedding on BBC Two. Were one forgiving (very forgiving), you could call their shtick - making every obvious joke going, hamming up their historical situations - ironic.

As the makers of The Kennedys discovered recently, turning history into TV drama can be like locking yourself in the stocks and inviting all-comers to hurl coconuts at your head. This dramatisation of the 1950s Manchester United team and its traumatic near-destruction in the 1958 Munich air disaster has been duly lambasted by Sandy Busby, the son of former Manchester United manager Matt Busby, and others who were affected by the real-life events.