“Family-friendly fun” seems to have mutated over the years into elaborate films featuring high-octane animation, starry voicing and often mushy sentiments. In older children’s TV, gone are the days of actual humanoids mucking about with stun guns. Only Doctor Who has continued to deliver the teatime goods.  

Laura Lippman’s source novel for Apple’s new drama became a New York Times bestseller when it was published in 2019, and director Alma Har’el’s screen realisation has fashioned it into an absorbing dive into various social, racial and political aspects of mid-Sixties America.

Jenna Coleman seems to pick her roles with care, whether it’s Queen Victoria, the girlfriend of mass murderer Charles Sobhraj in The Serpent, or “occult detective” Johanna Constantine in The Sandman, but her antennae may have been a bit awry when she climbed aboard this one.

The Jetty is long on atmosphere and scenery but short on plausibility, and hammers away at its themes of abused women and abusive men so relentlessly that there’s not much room for anything else.

Any show making its debut in the midst of Wimbledon and the Euro-football, plus a spectacular performance by Lewis Hamilton at Silverstone, is likely to be gasping for air, and BBC Two’s ditzy new cop series didn’t so much charge out of the blocks as trip over them. Masterminded by Ben Schiffer, the eight-part series is based on Barbara Nadel’s Inspector Ikmen novels, which are much loved by their readers.

Showing over four consecutive nights, Night Caller is a stripped-down psychological thriller which steadily boils up to a conclusion which is both shocking and tragic.

It was 20 years ago that Celine Dion first experienced the muscle spasming which would eventually be diagnosed as Stiff Person Syndrome (SPS). She suddenly found she couldn’t control the pitch of her voice, a calamitous occurrence for a singer renowned for the almost superhuman power and accuracy of her vocal control. The condition advanced surreptitiously over the succeeding years, and when Dion had to pull out of her residency in Las Vegas in 2021 it became clear that the problem was acute.

Lucie Shorthouse is enjoying some high-profile TV action with her roles in Channel 4’s We Are Lady Parts, about the adventures of an all-woman Muslim punk band, and in BBC One’s reincarnated Rebus.

Scott Turow published his cunningly-wrought legal thriller in 1987, and Alan J Pakula’s powerful movie version, starring Harrison Ford, appeared in 1990. Enough time has elapsed, perhaps, for Apple TV’s revised version of Presumed Innocent for the streaming age.

New York in the 1980s is the setting for Abi Morgan’s new six-part drama, and it’s a city riddled with squalor, homelessness, racism and rampant crime. The Aids pandemic is also beginning to rear its hideous head.

Maybe California-born Matthew Modine caught the movie bug courtesy of his father Mark, who used to manage drive-in theatres, but after bagging his first film role in John Sayles’s Baby It’s You (1983) he never looked back. Blessed with a gift of employability that must make many of his fellow-actors green with envy, Modine has been clocking up a stream of memorable performances for 40 years on both the small and big screens.