The BBC excels at a very particular kind of drama, namely one where production values overawe dramatic content. Its version of The Woman in White (BBC One) proves no exception. Our hero is Walter, a bemused sappy painter played by ex-Eastender Ben Hardy.

As if the real world wasn’t scary enough... Ghost stories are en vogue at the moment, and after the BBC’s hit-and-miss Requiem, Channel 4 brings True Horror to the small screen – a collection of "real" ghost stories, told by witness interviews and dramatised with a decent budget. And just like Requiem, our first tale took us to the rolling hills of Wales.

Considering the coal-dark nature of her music, it was unsurprising Sweden's Anna von Hausswolff was dressed entirely in black while meeting up at London’s Rough Trade East shop to talk about her new album Dead Magic. Less foreseeable was her sunny disposition and willingness to veer off topic. She happily explored what has brought her to this point and spoke enthusiastically about her inspirations.

As we reach December, the year of Stephen King comes to a close with this 4K Blu-ray restoration of his very first film adaptation: Carrie. It was the first major success for Brian De Palma, Sissy Spacek and John Travolta, but how does the original high school horror hold up in the 21^st century?

Another year, another new full-length story ballet from one of the Royal Ballet's in-house choreographers. Time was – a long time, in fact, up to 2011 – when that would have sounded like science fiction, but no longer: Liam Scarlett, whose Frankenstein premiered last night at the Opera House, is treading a path worn smooth in the past five years by Christopher Wheeldon, Wayne McGregor and Carlos Acosta.

This is Susan Hiller’s first exhibition since her Tate retrospective in 2011, and as it includes work from the 1970s to the present, it can also be seen as a retrospective of sorts. But since the selection was obviously governed by what was available for sale, it inevitably offers a piecemeal view of her achievements.

Now here’s a funny thing, possums. Back in 1990 when one great Australian Dame, Joan Sutherland, gave her farewell performance, another, a certain housewife superstar from the Melbourne suburb of Moonee Ponds, seemed closer to  retirement age. Now La Stupenda is no more, Dame Edna is a gigastar and it’s her turn to shrill a gladdie-waving goodbye to her adoring public. She doesn’t look a day older, nary a hair out of place in that immaculate lilac coiffure.

Things go bump in the night in James Wan's chilling latest, based on a supposedly true story. The Conjuring is an event horror movie, benefitting from a sizeable marketing budget and the distribution of a major studio (Warner Bros); appropriately enough it simply screams to be seen. And those looking for a touch of class to elevate their frights will find it heartening to hear that there's a leading role for Oscar nominee Vera Farmiga.

Uri Geller was famous once. Superstar, rock’n’roll famous, and though this is now hard to believe, kind of cool. He hung out with John Lennon, who gave him a thing that resembles a gold-plated egg and that was, Lennon told him, a gift from a friendly alien. What’s more, he was the darling of the chat show circuit – no, not those crank channels where psychic readings are available when you phone in with your credit card details, but ones hosted by David Dimbleby.

The eminence grise behind Touch is Tim Kring, who also devised Heroes, and it shows. Heroes was about a network of people with paranormal or superhuman powers, and so is Touch. In this case, we find ourselves in a universe which is underpinned by numerical patterns and mathematical probabilities. Only a select handful of humans can discern this astounding cosmic architecture and join the astral dots, one of them being Jacob "Jake" Bohm.