Garrow’s Law, which returned last night for a third series, would seem to be entirely about the foreign country that is Georgian England. One of its progenitors is Tony Marchant who, give or take the odd adaptation of Dickens or Dostoevsky, has spent his packed writing life in the modern day. But they don’t seem to make his kind of searing contemporary drama any more, the type that hunts for the root cause of moral failure in individuals and society. So in order to hold a mirror up to his audience, he has turned to the 1700s. Profitably.

Apart from voting, there is only one duty the United Kingdom asks of its residents: if, or less likely when, it comes, to answer the summons to sit and listen to evidence in a criminal court and, with 11 other randomly selected individuals, reach a collective decision about the guilt or innocence of the accused. Trial by jury is rightly held to be one of the more unimpeachable achievements of civilised society.

Fantastic! A new drama series in which the hero isn't a detective. Instead, William Travers (James Purefoy) is a criminal barrister who (after some sort of traumatic, nervous-breakdown-provoking experience we don't know much about yet) has moved from the pressure cooker of the London legal industry to the ostensibly more laid-back environs of Ipswich. He used to specialise in murder cases, but now he swears he's given them up.

theartsdesk readers were aghast and appalled when BBC One supremo Danny Cohen cancelled detective series Zen after a paltry three episodes. However, he has made amends of a sort by commissioning a second series of Peter Moffat's legal drama Silk, after series one ended last night.

Will Silk make it to series two, or will it feel the wrath of BBC One's mad axeman, Danny Cohen? The former, we fervently hope. Despite some implausible incidents and occasionally silly plotlines, Peter Moffat's battling-barristers drama reached the end of its first series looking stronger than when it started.

Former Los Angeles Times crime reporter Michael Connelly struck gold with his books about LAPD detective Harry Bosch, before pulling a deft gear-change with the creation of criminal defence attorney Mickey Haller in The Lincoln Lawyer. The movie version, directed by Brad Furman and scripted by film and TV veteran John Romano, sticks pretty close to Connelly's novel, even if Matthew McConaughey's lead character has mysteriously morphed from Mickey to Mick.

There was a moment in last night’s Silk when a young solicitor turned up late for a trial. He was also an actor, he explained to his client’s counsel, and had to attend an audition. For a Head & Shoulders ad. The USP of Peter Moffat’s courtroom dramas is that, more than any writer since John Mortimer, he knows whereof he speaks. Having once been a barrister himself, the serpentine ins and outs of chambers, the politicking and skulduggery etc etc are his area of expertise. So you take it on trust that the events dramatised here are the truth and nothing but.

The legal drama has become a staple of stage and screen, for a variety of excellent reasons. All of human life really is there, from love and hate to good and evil, crammed into the claustrophobic cockpit of the courtroom. Adding an extra squirt of kerosene to an already explosive mix is the fact that, as Dr Gregory House likes to say, “Everybody lies.”

The real-life story behind Conviction had a big balloon over its head saying “Hollywood screenplay!!!”, and sure enough here’s director Tony Goldwyn’s big-screen version, with Hilary Swank striding out front carrying the banner for truth, justice and the supernatural properties of sibling devotion. There’s no denying it’s an incredible story.

What better to brighten our morbid January nights than the return of this superior Chicago-based legal drama? The Good Wife has never attracted lurid publicity or been afflicted with cutting-edge trendiness, but instead relies on the somewhat Germanic characteristics of being fastidiously designed and impeccably constructed.