“Bela Lugosi’s dead,” as Bauhaus sang, in memory of the star of 1931’s Dracula. But of course death has never been an impediment to the career of the enfanged Transylvanian blood-sucker. Filmed and televisualised almost as frequently as Sherlock Holmes, Count Dracula would doubtless join the cockroaches as the only entities to survive a thermonuclear holocaust.

Talk shows can go one of two ways. You can create a welcoming space where your guests can kick their shoes off and start telling daringly revealing anecdotes. Alternatively, there’s the Dame Edna formula where the guests are cannon fodder for the host.

What joy to be back with the Shipman and West families, created by writing team James Corden and Ruth Jones.

If you came to this expecting to be reminded of such ghosts of Scrooges past as Alastair Sim or Bill Murray, you will have been reaching either for the brandy or the defibrillator.

In films, as in life, unreliable narrators are not hard to find. But there is something remarkable about the unreliable narrator of Elizabeth is Missing, BBC One’s newest feature-length drama. Its protagonist, Maud (Glenda Jackson), is unreliable in the extreme – confused, forgetful and emotionally wounded. Yet unlike most unreliable narrators, we never fear that Maud is trying to sell us a false story. She is so clearly fighting to understand the truth.

A tip of the hat to Julia Ormond for boldly going where many an actress might have chosen not to. In this new six-parter by Marnie Dickens, she plays Julia Day, a mother of three who’s just divorced her husband and is turning 60. Dickens’s objective, we may surmise, was to drive away the fog of invisibility which can descend irrationally upon mature women, however capable they may be, and demonstrate that age can indeed be just a number.

A bit like all those people on the home front in 1940 (but only a little bit), we sit and nervously wait for news. Is World on Fire (BBC One) still listed among the living? Or even now is someone typing up the letter and sticking it in a brown envelope? “Fell bravely in the field … did its country proud etc…” Please may this ambitious Sunday-night drama live to fight another day?

You wouldn’t expect a drama called Dublin Murders (BBC One) to be a laugh a minute, but the cumulative anguish, menace and torment of this eight-parter made it almost unbearable, even if viewers were thrown a tiny scrap of hope in the final frames.

This series examines murders in the USA “with elements of love and passion as well as prejudice”, and the second season opened (on BBC One) with "Killing in the Classroom", the story of the fatal stabbing of New York school student Matthew McCree by bisexual teenager Abel Cedeno.

What did we learn at the end of The Capture (BBC One)? A rice jar is a good place to hide USB sticks. It’s possible to withhold the opening credits for 11 whole minutes. A green coat works exceptionally well with light blue eyes and shoulder-length auburn hair. And Ben Chanan, who originated the script and directed it himself, is a television dramatist to watch, and watch again.