In fact and in fiction, from Casualty to the latest ambulance reality series, the NHS is shown under strain if not in outright crisis. It is an accurate enough picture given many people’s experience, but it is not the one on show in The Hospital: Life on the Line (Channel 5, Monday).

Filmed in the cardiology department at the NHS Golden Jubilee in Clydebank, this is the NHS of everyone’s dreams. Patients get treatment as soon as they need it in a hospital that’s clean, modern, and has lots of motivated staff on hand to aid patients’ speedy recovery. It’s a surgical Shangri-La, the likes of which we all hope is waiting for us when we need it.

There is more to the Golden Jubilee than that, of course. Built as a private hospital, it was in and out of receivership before being bought by NHS Scotland in 2002, becoming part of the NHS. Not that you would know any of this from the first episode. Rightly, the programme focuses on people rather than politics, but it might have been mentioned. Just sayin’. It may feature later on.

Andy, 54, was waiting for “the call”, the one to say a heart had been found and a transplant could go ahead. “Every minute feels like a lifetime,” said his partner, Shabana. Hopes were raised, then dashed, and raised again.

It was the stuff of life and death being played out, yet all was calm. The narration did take a flowery turn occasionally, but on the whole The Hospital was commendably fuss-free, with patients and staff given time and space to have their say. There was no need to artificially heighten the tension, as a lesser crew might have been tempted to do. We could see how high the stakes were simply from a look at Andy and Shabana’s faces.

The hour flew by. Now and then the camera would focus on what looked like a plastic lunchbox containing a heart, beating away, waiting for a new home. Everyday miracles.

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It is the law that any new drama about a twentysomething woman finding her way in life must be compared to Fleabag and Bridget Jones. So it has been with Queenie (Channel 4, Tuesday-Wednesday), which is a pity because it has its own charms, chief among them Dionne Brown, who plays the title character.

Adapted from the bestselling novel by Candice-Carty Williams, it was not watch with mother material, hence its 10pm airtime, but it was highly watchable. Queenie, a 25-year-old Londoner, is having a “quarter-life crisis”, complete with ice queen newspaper editor boss who won’t give her a break (Sally Phillips nicely playing against type). There is a deeper story here and we get to it eventually, but in the meantime, it is no hardship spending time with this character.

Becoming Karl Lagerfeld (Disney+, from Friday) adds to the long list of dramas set in the world of French fashion. What’s not to like about watching pretty people with too much money living to excess? Not that one would accuse the young KL of such a thing. It is Paris, the beginning of the 1970s, the best and wildest of times for some. Karl doesn’t drink, smoke, gets to bed by 10 and lives with his mum. Not very rock and roll, but now he has met Jacques, that might be about to change.

This portrait of the late German designer who rose through the ranks to head the ultimate house of French fashion tries for substance as well as style and sometimes succeeds courtesy of Daniel Bruhl (Entebbe, All Quiet on the Western Front) playing KL.

“Fashion has nothing to do with women or there wouldn’t be so many gays in the business,” says Lagerfeld. It’s a way of embodying the zeitgeist, of reflecting society’s true nature.” Well it is here, at any rate. If you like your fashion highfalutin, with occasional forays into silliness, this six-parter is for you.

The Responder (BBC1, Sunday) finale began with things looking up for Chris (Martin Freeman), the Scouse copper not so much on the edge of a nervous breakdown as slap bang in the middle of one. “New flat, new job, new Chris,” said his ex-missus. It was all a lie of course.

Now on the payroll of a drug dealer, Chris had gone over fully to the dark side. But what was this, a chance to redeem himself, one involving Casey (Emily Fairn) the young addict he rescued at the end of the first series? The very same.

Depending on your generosity, this either displayed a pleasing circularity in storytelling style or was a sign that the series had run out of ideas.

The door to a third series seemed to be left open, but it could have gone either way. Personally I think it was time to go, not least given Bernard Hill’s departure. Plus, I’m not sure my nerves can take any more. Ta-ra lads, it’s been (a bit too) real.