It’s been nine years since Ben Affleck’s original portrayal of Christian Wolff in The Accountant, who’s not only an accountant but also a super-efficient assassin working for the highest bidders. In this follow-up, again directed by Gavin O’Connor and written by Bill Dubuque, Affleck barely seems to have aged, and he's still solitary, anti-social and probably autistic.

Dublin theatregoers have been inundated with Irish family gatherings concealing secrets or half-buried sorrows, mixing “bog gothic” with very real horrors. Clearly they’re willing to try again with Jez Butterworth’s The Ferryman, because its run has just been extended. The vanishings familiar to Butterworth’s wife Laura Donnelly, whose uncle was among the disappeared, still resonate, as a programme article by Sandra Peake, CEO of WAVE Trauma Centre, reinforces.

The destruction of Pan Am flight 103 over Lockerbie on 21 December 1988 was one of the ghastliest events in what would become known as the War on Terror, and 36 years later it’s still shrouded in mystery and ambiguity.

You might assume that the “Has Fallen” in the title of this Anglo-French thriller connotes the presence of Scottish lunk Gerard Butler (as in Angel Has Fallen, London Has Fallen and Olympus Has Fallen), but there’s no Gerard in sight. Instead, in this TV spin-off from the movie series, we have Tewfik Jallab (pictured below) as protection officer Vincent Taleb, who’s acting as minder to France’s defence minister Philippe Bardin (Nathan Willcocks).

“Let the train take the strain”, as the old advertising slogan urged us. The train in this six-part drama has to soak up a whole world of strain, as it’s taken over by cyber-hijackers who demand a huge ransom before they’ll consider relinquishing their technological grip.

If I were a rich man, I'd be inclined to put together a touring production of Fiddler on the Roof and send it around the world, a week here, a week there, to educate and entertain. But, like Tevye, I also have to sell a little milk to put food on the table, so I’ll just revel in the delights of this marvellous show in the theatrical village nestling within Regent’s Park.

There’s been an incident in Edinburgh. Right near the Scottish Parliament. Several dead, many more injured. Among the witnesses were two of the capital’s young football stars, now clearly traumatised by what they’ve seen. Someone shouting about women running the world, inflicting their agenda on powerless men. Something needs to happen – these people should be hunted down, made to pay for what they’ve done.

In its first series in 2021, Vigil delivered a claustrophobic though frequently absurd tale of murder and Russian spies aboard a British nuclear submarine. This time around it’s the RAF under the spotlight, though its name has mysteriously been changed to the British Air Force.

A dystopian present. Sirens ring out across the city. Firefighters rush to the wrong locations. A man insists on entry to a big house.

He’s not selling anything, so he can’t be an arsonist can he? His friend turns up and she’s pretty upfront about her intentions – and the barrels of petrol in the attic rather give the game away. But the wealthy homeowner, so ruthless at work, is so polite at home, the coming conflagration all but accepted as a matter of… manners, social convention, apathy?

The Russo brothers, makers of Amazon Prime’s much-hyped, $300m new spy drama, decided to keep the concept simple – it’s Good versus Evil. In the Good corner we have Citadel, a super-secret global spy network which has the modest ambition of keeping everybody, everywhere in the world, safe.