People speak to her. It could be her mother. It could be a colleague. But she doesn’t react, continues what she’s doing. Which, usually, is leaving. It’s welcome back to Sarah Lund, whose watchability is in inverse proportion to her demonstrativeness. As recalcitrant detective Lund, in the second series of Denmark’s The Killing, Sofie Gråbøl is as magnetic as the first time around, whatever she’s wearing. Sweaters be damned, these two opening episodes were up there with the BAFTA-winning first series.

How do you forge a pop career in the shadow of the biggest pop star on the planet? What is perhaps forgotten about Janet Jackson is that not only did she pull this off, but for a while she actually overshadowed her older brother. But this documentary doesn’t really dig deep enough, in that it never even begins to answer the question: how did she remain so - relatively speaking - level-headed and grounded while growing up in this most famous and, some would suggest, dysfunctional of families?

This is a very odd series. Even the BBC seem to be wondering what on earth they're supposed to be doing with it, since after the Wednesday night airing of these first two episodes Pan Am is moving to Saturday evening, with a Thursday repeat. 

Steve Buscemi says he’s “from the country of Brooklyn”. In the wake of  Boardwalk Empire he could have said the empire of Brooklyn. Although the family history disinterred was genuinely strange, this first entry in the new series of Who Do You Think You Are? USA was no emotional roller coaster, mostly because of Buscemi’s low-key affability.

For dull reasons to do with a dodgy digital box and a very old analogue telly, I can’t tune in to BBC Four during live transmissions, so I either catch up on iPlayer, or (lucky me as a journalist) get to see programmes early. But I’m very glad I can get it at all, for when the BBC cuts come to pass and its premier arts channel starts broadcasting archive-only material, as it proposes to do, then I think I might just stop watching telly altogether.

So Fresh Meat approaches the conclusion of season one and, against my expectations, I’ve become a devoted fan. When it was announced that Peep Show creators Jesse Armstrong and Sam Bain were launching a new sitcom, based around a Manchester student household, it sounded promising; perhaps a postmodern update on The Young Ones was in the offing. Peep Show fans were expecting a riot of sordid humour and cruel jokes of embarrassment. We had those in spades. What we weren’t expecting were such wonderfully written and acted character studies.

Garrow’s Law, which returned last night for a third series, would seem to be entirely about the foreign country that is Georgian England. One of its progenitors is Tony Marchant who, give or take the odd adaptation of Dickens or Dostoevsky, has spent his packed writing life in the modern day. But they don’t seem to make his kind of searing contemporary drama any more, the type that hunts for the root cause of moral failure in individuals and society. So in order to hold a mirror up to his audience, he has turned to the 1700s. Profitably.

Coming as it did over this Armistice weekend, when the soldiers who have died for us are foremost in our thoughts, last night's Art for Heroes: A Culture Show Special was a salutary reminder that soldier-victims are not just those who are killed or sustain terrible physical injuries but also those with psychological wounds which can't be stitched together. It went beyond, however, an exploration of Post-Traumatic Stress Disorder into how art therapy is helping some of these veterans process and express and salve their aggression and anxiety.

Those of us who regarded The Office as a work of comic genius (not a word I use lightly) will, I'm afraid, take some convincing about Stephen Merchant and Ricky Gervais's latest offering. Keen fans who have followed the duo's every move since that landmark sitcom will feel they know every last trope on display in Life's Too Short, from its mockumentary setting and unPC subject matter to dark comedy and celebrity guest spots.

“It’s very deep, very private and full of love,” said Art Garfunkel of his relationship with Paul Simon. So private that for this examination of their swansong 1970 album Bridge Over Troubled Water the pair were interviewed apart, despite both being credited as executive producers. Whatever the nature of the love, 40-plus years on, bridges weren’t being built.