Marianne Levy

Ofori-Attah is a doctor who spent many years working in A&E, and her experience shows. It is the script’s nods to unnerving realties of the NHS that hit hardest.

From its subtle opening to the explosive final episode, this is a truly great piece of television: after all, there’s nothing more powerful than being heard.

Jaws @ 50 isn’t a bad documentary, just a frustrating one. It’s entertaining enough, but you might do better watching the original film instead.

Yes, the script is, at times, a smidge on the lazy side (at one point, Frank says, “You just don’t get it, do you!” a phrase which appears so often on the screen that it really needs to be banned). But the tension stays high, and Brighton is as salty a backdrop as one might hope. With three more episodes to come, Sunday night is in safe hands.

The series hangs on De Niro’s star power, but he doesn’t have that much to do. For every rousing speech Mullen makes, he has to spend long stretches staring into the middle distance while we are left to guess what’s on his mind.

William is clearly committed to his cause, but he simply cannot galvanise his audience at the ballot box, in the workplace, and in the wider social arena to fix this inhumane problem once and for all. As an hour of factual television that was supposed to prove it is possible to end homelessness, this documentary was an abject failure.

Just two episodes in, Sunny is both stylish and beautiful, with moments of true darkness. What Susie will uncover at Imatech remains to be seen, but the pieces are all in play for this to be a twisty and compelling drama full of humour and heart. Best and most fascinating of all are the questions that Sunny asks of AI and of us – questions that we, as a society, are still nowhere close to answering.

Not every great series has to be innovative. Land of Women delivers a golden glass of entertainment, well-written and beautifully made. This is the kind of series you crave on a drizzly summer evening when the British weather has failed to deliver.

Where Kapadia’s signature profiles of Winehouse, Diego Maradona and Ayrton Senna are sharp dissections of the dark side of fame, ambition and wealth, Camden is more like one of those well-made but slightly plodding and unspectacular music documentaries you might stumble upon on BBC Four on a Friday night.

The relish with which Attenborough described his subjects was palpable, from his delighted emphasis on the “hairy” armadillo to the exotic lilt he afforded the word “gerbil”. The stories may have been epic, but the success of their telling was all in the details.