WHEN he was a teenager, Guccio Gucci worked as a porter at The Savoy. Hotel legend has it that he so admired the beautiful people and things he saw there that he returned to Italy to make his own luxury goods. A century on, you can now stay in the Savoy’s royal suite, clad from carpet to ceiling in Gucci, for £16,000 a night. All together now: IS THAT ALL?

The price does include some of the best views across London, we learned in The Savoy (STV, Wednesday). I should think for that money the least they could lay on was a herd of Fawlty Towers' wildebeest sweeping majestically by. As one of the staff was fond of saying, “As long as it is legal we’ll do it for you.” For some reason that has not been adopted as the hotel’s official slogan, but you know what they mean. They go above and beyond for their guests, who are not guests really, more like friends who pay to stay. Don’t all five star hotels come out with such blarney?

Distinguishing The Savoy from the competition was the first job on the new management’s list as the doors opened again post pandemic. All this viewer wanted was a nosy around and to know the price of everything, including the wallpaper in Gordon Ramsay’s new restaurant (£1,000 a square metre, none of your cheap Downing Street stuff here).

The Savoy is obviously great PR for the hotel, but a sense of humour and an eye for a good story raise this series above the level of just another puff piece.

The best advertisements for the place were the staff, like the doorman who missed the hotel and the guests so much in lockdown he was visibly moved at the thought of it. With 65% of the hotel’s business coming from returning guests, the admiration appears to be mutual.

The crime drama Sherwood (BBC1, Monday-Tuesday) was set so far from Savoy country it might have been another planet. In this Nottinghamshire town the pit had gone but the divide between striking miners and “scabs” lived on. When a former NUM stalwart was murdered the events of 1984-85 raised their head once more.

Written by James Graham (Brexit: The Uncivil War, Quiz, The Crown), Sherwood took its time to get going, but it was worth it. The characters, from David Morrissey’s brooding detective to Lesley Manville’s widow on the warpath, were uniformly meaty and the politics of the piece just as chewy. With four more episodes to go, and secrets and lies behind every front door, things can only get murkier.

History was in with the bricks in The Real Derry: Jamie-Lee O'Donnell (Channel 4, Thursday), as the Derry Girls’ star took viewers on a tour of her home city. O’Donnell described her character Michelle as “a foul-mouthed schoolgirl determined to life her best life despite growing up in a war zone”, adding: “In real life I’m nothing like Michelle of course.”

Of course she isn’t. But then again … As O’Donnell said of Derry/Londonderry, it’s complicated.

The tone was light to begin with, the mood helped along by clips from Lisa McGee’s sublime sitcom. Getting down to usual documentary business, O’Donnell visited her old school, hugged her drama teacher, and spoke to pupils about growing up in Derry today.

She could have carried on like this, but inevitably the film turned towards the past and Bloody Sunday in particular. As a way of showing the two sides to the city, O’Donnell visited a museum dedicated to that dreadful day, and later met members of a flute band. When she asked what Bloody Sunday meant to the latter, the silence was more eloquent than any words would have been. O’Donnell was shocked.

The obvious impact that making the film was having on her kept the hour from feeling superficial or gimmicky. As she realised the trauma of the past was all around her, and within her, the enormity of it began to hit home. How can a person, a city, a country, heal from wounds that go so deep?

O’Donnell was smart enough to know that she did not know the answers, but she had asked all the right questions. If she ever fancies a change, acting’s loss would be documentary’s gain.

Location, Location, Location (Channel 4, Wednesday) rocked up in Glasgow, where the housing market was racing ahead.

Enter Kirstie and Phil to hold the hands of two home-hunting couples, one of whom had recently left Sydney to return to Glasgow (all together: ARE YE MAD?). There is something undeniably relaxing about watching K and P in action. They are the non-couple couple you know will never separate. In years from now they will be in a retirement home together, him with his dad jokes, her with plans to knock through every wall in the place, together forever, the end.