The latest true-crime adaptation about a murderous man and his female victims turns its star into a bloody mess on a hospital table, her vital signs flatlining. And that’s just halfway through, with two episodes to go. 

Director Thom Zimny has become the audio-visual Boswell to Bruce Springsteen’s Samuel Johnson, having made documentaries about the making of Born to Run and Darkness on the Edge of Town, Springsteen On Broadway and several more. Road Diary takes as its theme Springsteen’s 2023-4 tour, and uses that as a platform for an often emotional survey of his 50 year history with the E Street Band.

All three seasons of Industry are now on iPlayer, and after watching the most recent one and then backtracking for another look at the other two, I am still in two minds about it. With its forensic display of a toxic world where people are viewed as “capital” and anomie is the prevailing mode, is it masterly drama or an overheated mess? 

Delirium has greeted Disney’s eight-part adaptation of Jilly Cooper’s 1988 novel Rivals (part of her Rutshire Chronicles series).

It seems to be silly season for big-name directors. First, Coppola’s Megalopolis and Steve McQueen’s Blitz: why? Now Alfonso Cuarón’s Disclaimer: double why?

The latest incarnation of David Mitchell, TV actor, looks at first sight much like the familar one from Peep Show and Back. Not a pufflepant in sight. His only costume change for Ludwig is a pair of wire-frame spectacles. 

Set in Yorkshire in the 1890s, and based on the novels by CL Skelton, The Hardacres is the story of the titular family who, it seems, were pioneers of takeaway fish, although not accompanied by chips. It’s their stall selling fried herring fresh from the ocean which makes the Hardacres an unexpected fortune.

If you’re looking for an advertisement for how crime doesn’t pay, Joan will do very nicely. Written by Anna Symon, this six-part series is based on the memoirs of real-life jewel thief Joan Hannington, whose light-fingered accomplishments earned her notoriety back in the Eighties. Some apparently referred to her as “The Godmother”, though they don’t here.

Is there no limit to the number of times the comic book heroes and villains from Marvel and DC can be recycled? HBO’s The Penguin (showing on Sky Atlantic) is a spin-off from Matt Reeves’s 2022 film The Batman, which starred Robert Pattinson in the title role and Colin Farrell as Oswald “Oz” Cobb, aka The Penguin.

Why do production companies think the world needs yet another reconstituted TV drama involving famous people in infamous situations? Newspapers and non fiction books already do a great job of telling these stories of intrigue and scandal: why is a TV adaptation a viable improvement?