As the Brockman family returns for a fifth and final series of Outnumbered, some viewers will find their hackles standing to attention at the family's extraordinary distillation of middle-class characterstics. There’s the enviable middle-class London home they live in, absurdly beyond the means of a family that seems to subsist on a single teacher’s income. There’s the tameness of their problems, this week's revolving around angst-ridden secondary school choice and the horror provoked by the eldest child Jake's (Tyger Drew-Honey) tattoo.

Harry Patch may have finally answered the summons of the last bugle, but there are still those whose memories run all the way back to the war to end all wars. Violet Muers, 106, was in the firing line when the German navy crept up on the east coast of England and unleashed hell on Hartlepool. A century on, she lucidly recalled the bangs going off in the night. “Me older sister said, ‘I think somebody’s beatin’ the carpets.’” Jeremy Paxman sat in her front room, enthralled by the bonny voice of another England.

“If I didn’t want to have a life, I’d move to LA,” was one of the (many) funny lines in the new HBO series Looking, and brought home that, along with the show’s three appealing gay male leads (main picture), it’s the city of San Francisco itself that plays a central role here.

Poor David Bowie. He didn't win a Grammy for his album The Next Day, and he didn't win a South Bank Sky Arts Award today either. That honour went to Arctic Monkeys and their fifth album AM, as Melvyn Bragg hosted the ceremony at London's Dorchester hotel in front of a crowd of luminaries from all sectors of the arts. This is the fourth time the event has been staged in association with Sky Arts, and it featured live performances by Dame Kiri Te Kanawa, Dame Evelyn Glennie and Imelda May.

Such is the level of confidence that the Silent Witness producers have in their new ensemble that star turn Emilia Fox barely lifted a scalpel in the latest instalment of the BBC’s long-running crime series. Either that or she needed a night or two off, and who could blame her? It's now in its 17^th series, and Fox has stuck it out for more than half of them.

Anyone familiar with Mark Kermode’s reviewing will already have heard his adulation of Steve McQueen’s latest film, 12 Years a Slave. An edition of The Culture Show dedicated to McQueen’s career could, then, have gone a bit weak at the knees in veneration. Instead, it roamed freely, making many intelligent connections across McQueen’s restless artistic journey from Turner Prize-winning video artist to hotly tipped Oscar shoo-in.

If you’re going to make a programme about the Rococo, that ornate and playful decorative arts movement that began in France at the start of the 18^th century and flourished under the French king Louis XV, naturally you’d want to start in Bavaria. Or perhaps not. But Waldemar Januszczak does, heading off with his bag-on-a-stick and his lolloping gait in the nature of a weary pilgrim to visit a German Rococo splendour or two in stone and pastel-coloured stucco. 

For a film that opened with Ai Weiwei’s statement, “Without freedom of speech, there is no modern world, just a barbaric one,” there was an irony in the fact that Andreas Johnsen’s Big Brother Watching Me… started practically without words. When the artist was freed in June 2011 following 80 days in prison, one of the conditions of his release was that he would not talk to journalists. For a while we wondered if this Storyville film might be purely observational, without an utterance from its central character.

We return to the dramatised Selfridges five years after the opening of the store that changed the face of British shopping - and yet, despite proving those who doomed his enterprise to failure wrong, the smile on its eponymous owner’s face is as false as his moustache is magnificent. Although Harry Selfridge (Jeremy Piven) was able to turn on the charm for visiting journalists in tonight’s series opener, the absence of his wife and daughters - back home in the US where the girls, we are told, were finishing school - cast a shade over the celebrations.

It’s costume drama meets adventure story, it’s got smouldering manhood and heaving-bosomed women with sex, swordfights, politicking and even beautifully lit Prague doubling for 17th-century Paris, but the question hanging over the BBC’s lavish new Sunday-night primetime series The Musketeers is: what exactly is it? And then Hugo Speer’s Captain Treville loses patience and barks: “You three, my office, NOW!” and it hits you: this is Charlie’s Angels in thigh-length boots.