Ellen E Jones

It’s not a sitcom then, but it is frequently very funny. Much of the humour comes from the dialogue: a dazzling display of second-gen immigrant linguistic dexterity.

Dreaming Whilst Black remains rich with funny, true observations, about the hypocrisies and degradations of working in TV, and Black British life in general.

None of this rises to the level of the class analysis or psychological insight that we’ve come to expect from the franchise at its finest, but happily there’s still time for deeper themes to develop. And happily there’s also Karen, from Jamaica via Jersey, whose main function on the show is cracking up at the foolishness of these Englishwomen, while delivering teeth-kissing side-eye, as only a posh Jamaican can.

The Change strides purposefully towards its culmination, in a revamped, gender-balanced version of the village’s annual festival. Linda features centrally in this, of course, in a series of sensational outfits (we’re calling it Sheela-na-gig chic), while delivering speeches on the stages of womanhood that are genuinely affecting.

Series two doesn’t up the ante, but it does takes the show’s tried and tested comedy components and uses them to once again build towards an emotionally satisfying pay-off.

By giving Schneider co-lead billing in what should have been the Huey P Newton story, The Big Cigar has supplied a dispiriting answer to its own still pertinent question: no, Hollywood can’t be trusted to authentically tell the stories of Black radicals; the compulsion to centre whiteness is just too strong.

A bit of balance in regard to the pleasures, as well as the dangers, of this world, might have made for more compelling viewing. Instead, it’s mostly left to barman Matthias to sum up not only the general tone of the queer community’s interactions with police (“They kept asking us what a darkroom is”), but also all the vitality and camaraderie of this modern-day Weimar bacchanal.

These Noughts + Crosses characters don’t yet have complexity and nuance to match its world-building. At this stage, it is difficult to imagine audience interest in Callum and Sephy sustaining the show into a proposed subsequent series. Even so, this is vital viewing.

Three Little Birds exhibits deep reverence for its characters, but it doesn’t really seem to know them. And while respect for the Windrush generation is entirely appropriate – especially after the profound disrespect demonstrated by successive home secretaries – it doesn’t lend itself to a satisfying, engaging television drama.

It would be unfair to fault a consistently entertaining TV drama for falling short of the gritty and gobsmacking truth. The Gold is also partially redeemed by a finale that manages to cleverly wrap up loose narrative ends, while acknowledging that the full story is yet to be told – and likely never can be