This fourth season of Prime’s reworking of Tom Clancy’s fictional CIA man is supposedly the last (to avoid any confusion they’ve dubbed it The Final Mission). It maintains its tradition of deluxe production values, globe-hopping locations and the kind of labyrinthine plotting liable to prompt frequent recourse to the rewind button.

Probably because it’s a secret fear shared by many a flyer, aircraft hijacking has become its own screen mini-genre. We’ve already had not only Hijack but also Hijacked, not to mention the Wesley Snipes vehicle Passenger 57, Jodie Foster in Flightplan and Joseph Gordon-Levitt in 7500. In Air Force One, the President himself (played by Harrison Ford) was hijacked. And then there’s Liam Neeson in Non-Stop.

Not to be confused with the matchless French policier Spiral, Spiral of Lies (or J’ai Menti in its native tongue) is a twisty tale of murder, guilt and deceit, playing out over a 16-year time period. Camille Lou pulls off the quite impressive feat of playing the main protagonist, Audrey Barreyre, as both a reckless 19-year-old and a lawyer in her mid-thirties, who finds herself forced to confront the fallout from the mistakes made by her younger self.

When we consider the storied history of Portuguese television, we naturally think of… er… well, perhaps we'll get back to you on that. But in the meantime there’s Turn of the Tide (or Rabo de Peixe to give it its original title), Augusto Fraga’s surprising and captivating story of a tiny community in the Azores which suddenly finds itself awash with cocaine.

Young women who were riveted by Helen Fielding’s Bridget Jones columns in the 1990s are now probably of the age where the menopause is, or has recently been, a bigger concern than landing your own Mr Darcy. Which is why Bridget Christie’s The Change (Channel 4) has arrived with ideal timing.

This is possibly not ideal viewing for a spell of sunny weather in June, but Jack Thorne’s drama about a family trying to cope with a terminally ill child is as compelling as it’s painful. Sharon Horgan and Michael Sheen star as parents Andrew and Nicci, and Best Interests probes their private agony in piercingly intimate detail, but the focus also pulls out to encompass prickly issues of ethics, morality and the labyrinthine innards of the NHS.

Hey-hey! Alright! The standard greeting of Kendall Roy will be much missed, along with all the other regular joys of Succession. It wasn’t always 100% perfect, thank goodness, it was all too human: changeable, moody, ultimately self-serving, just like its characters, especially as it powered to a climax.

The thought of yet another primetime true-crime series might weary the soul, even if it has been created by Ed Whitmore (Manhunt: Martin Clunes heading two cases as DI Colin Sutton), directed by Marc Evans (Hinterland: Wales’s contribution to modern noir) and stars Philip Glenister. More rapes and murders of young women from the archives? More cops with typewriters and a drinking habit being poorly led by myopic superiors?

Hannah Gadsby had a memorable lockdown; it was when the Tasmanian comic got together with producer Jenney Shamash. And it's their courtship that forms the basis for Something Special, the wonderful new show by Gadsby which is now a Netflix special, recorded at the Sydney Opera House.

The Ten Pound Pom programme (or to use its official title, the Assisted Passage Migration Scheme) was devised to encourage British emigrants to Australia after World War Two. The idea was that the volunteers could escape from drab, rationing-battered Britain to the sun, sea and wide-open spaces of the Great Southern Land, while also helping to boost the Australian economy. Adults paid 10 quid and children travelled free.