For Fans of Broadchurch

Sally Wainwright's Happy Valley does for West Yorkshire what Broadchurch does for Dorset: it makes place into character and police work into something personal and relentless. Catherine Cawood is one of the finest figures in British drama, carrying the series on a performance that is funny and devastating in equal measure. Where Broadchurch is restrained and coastal, Happy Valley is rawer and more violent. Both series trust their women absolutely.

Denis Villeneuve's Prisoners compresses the same subject into two and a half hours and makes the compression feel like suffocation. Hugh Jackman plays a father whose response to a missing child is to become something monstrous himself. The film does not forgive him, and it does not explain him away. It is a deeply uncomfortable watch, which is exactly the point. Fans of Broadchurch's refusal to let anyone off the hook will find the same quality here.

Disco Elysium is ostensibly a detective game about a murder, but it is really about a man failing to piece himself back together in a city that is also falling apart. The investigation is the scaffolding. What you are actually playing is a study of guilt, memory, and the way ideology shapes what people choose to see. It shares Broadchurch's willingness to let the detective be broken and to make the wider community as important as the crime itself.

Liane Moriarty's novel (and the HBO adaptation) runs a parallel track to Broadchurch: a death whose circumstances are concealed by a network of suburban relationships, each character hiding something. The settings could not be more different, but the structural instinct is the same. Both works use a community under pressure to pull apart the fictions people use to sustain ordinary life.