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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.

A programme that, despite its literary origins, never amounts to much beyond a ham-handed Ludwig pastiche, minus the comedic charm.

DI Wilson feels like a real person. He is conflicted, a bit tetchy and fond of a fry‑up. That gritty quality adds something new to a ratings winner that, in every other sense, feels happy to exist in a time‑warp of its own devising.

It may not be new or as inventive as it once was (it bears repeating that this series’ central love story is a Cinderella rip-off), but it remains a wonderful, luxurious watch.