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While the drama doesn’t fall into the trap of educating or being overtly political, it’s an overdue examination of how being lower class intersects with sexuality and gender identity… while also being an utter riot.

With plots sprawling over the two TV companies, multiple complicated relationships and storylines competing for the most important, this second instalment feels a little looser than the first – but its glorious glow of mischief remains.

It took a while to get to the point of the investigation, as the episode meandered between Hartung’s first day back at work and Naia’s and Mark’s wildly contrasting home lives instead of focusing on the case. It was all the better for it, though, with every scene building suspense or adding rich context to what promises to be a gruesome and engrossing series.

The drama itself is distinctly average, however. Nothing to write a postcard home about.

The story moves at a decent clip, but it ought to feel much more plausible considering its roots in reality. It would seem that all the series’ good ideas have been defused long before it reached the screen.

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.

Writer Grace Ofori-Attah, who worked in the NHS for 10 years, once again gives the proceedings an air of authenticity without overloading it with the sort of endless abbreviations that eventually made Line of Duty a bit of a joke.

The Feud has soap opera levels of dialogue and acting, with everyone from Emma’s overbearing solicitor to paranoid Nick portrayed in the broadest strokes. But it nevertheless paints a fascinating picture of an outwardly blissful middle-class neighbourhood that is, in reality, a hotbed of illicit affairs and passive-aggressive parking.

Bean gives it his all as the merciless head of the family – nobody growls quite as menacingly as the former Ned Stark, and he is reliably sinister throughout. But, with its dreary script and inane plot, This City Is Ours ultimately makes an offer that is all too easy to refuse.

There’s never been a TV adaptation of Lord of the Flies before and after this masterful version, there probably should never be another.