The Bear is so much more than a show about a Chicago sandwich bar. Although, even if it had offered only the mouth-watering food porn, plus Richie’s reckless banter (Mr Ebon Moss-Bachrach on top form), we’d still be queueing round the block for more. In these eight episodes, averaging out at a half-hour a piece, however, Mr Christopher Storer and his perfect cast have made a small-screen masterpiece. The Bear asks questions about what it means to move on: as a fast-gentrifying neighbourhood, as an inefficient business, or as a human being grieving loss. Plus, those sandwiches really do look tasty.

Mr David Morrissey, Ms Lesley Manville and Mr Adeel Akhtar star in this compelling murder mystery with an ambitious scope. While it’s loosely based on two real-life murder cases that took place in Nottinghamshire around 2004, Sherwood is really about post-Thatcher Britain as a whole, telling a story which connects the miners’ strikes of the mid-1980s to the “spy cops” scandal which emerged some 25 years later. Episode two, specifically, offers one of the most jaw-dropping, purely dramatic hours of television that this nation has ever produced.

The Wire is the greatest TV show ever made (no arguments, please), and this six-episode Baltimore-set cop show is as close as creator Mr David Simon is ever likely to get to a sequel. It deserves your attention on that basis alone. Yet, We Own This City also stands on its own, detailing a mind-blowing, but entirely true, case of police corruption. This is what 14 more years of the failed “war on drugs” will do to a city’s policing culture. And – spoiler alert – it’s nothing good.

Boldly experimental, form-innovating television isn’t usually as accessible as this. In each 25-minute episode of How To…, filmmaker Mr John Wilson turns his hand – and camera – to explaining something different, using impromptu interviews and footage filmed on the streets of his beloved NYC. The titular topics cover everything from “put up scaffolding” to “remember your dreams”, but that’s really only the beginning. Is it documentary? Comedy? Art? The answer, of course, is all three at once, plus something else entirely indescribable and new.

This coming-of-age sitcom has an unusually adult protagonist in 28 year-old Samantha Fink (a star turn from Ms Sofia Black-D’Elia). Because that’s what recovery is: learning to deal with all the difficult, grown-up emotions that alcohol abuse has blunted or delayed. One of the show’s most sobering insights is that plenty of people who’d never consider themselves “problem drinkers” still use booze to get through the day. As Sam’s mother, Carol (Ms Ally Sheedy), says, while pouring out a large one: “Don’t judge me for having one glass of wine in the evening… being a person is hard.”

Franchise TV shows on Disney+ are currently multiplying faster than Doctor Strange’s multi-dimensional hops, but this new addition to the MCU annals is worth slowing down to savour. As a showcase for the first Muslim superhero, it’s a representation landmark, but Ms Marvel is also just a really good time. It has bags of visual originality and charm, much of it emanating from star Ms Iman Vellani. Underestimate this Jersey City teen at your peril; she’s Buffy The Vampire Slayer for the TikTok generation.

In a near-future corporate America, employees at the top-secret Lumon Industries consent to have their memories spilt in two: the work-self, which only exists within the office walls; and the home-self, which only exists outside it. Like The Office meets Westworld, this Mr Ben Stiller-directed show itself exists in two stylistic halves. It's the brilliantly bifurcated performances of cast members Mr Adam Scott, Ms Patricia Arquette and Mr John Turturro which connects the whole.

Speaking of The Office, Mr Martin Freeman has come a long way, hasn’t he? The once downtrodden everyman revealed new depths and dynamism in this morally murky, utterly gripping series about a bent copper who’s actually alright really. Or is he? Ms Adelayo Adedayo is also excellent as the probationary police officer who’s horrified by what she discovers about “the job”. And if the depiction of Liverpool feels grittily authentic, that’s because the series is written by former Merseyside Police officer, Mr Tony Schumacher.

Ever since the first series aired in 2016, Mr Donald Glover’s show – in which he also stars as college drop-out-turned-music-manager, Earn – has been navigating the deep trauma of American race relations via the only genre that makes sense: absurdist horror. This season, he took that show on the road, as Paper Boi (Mr Bryan Tyree Henry) went on tour, and reminded Europeans of our own complicity in this story. As ever, the bottle episodes are unpredictable triumphs, plus look out for the cameos from celebs with race-related scandals to atone for… Mr Liam Neeson, is that you?