10pm, Channel 4
In this personal documentary, award-winning reporter and news presenter Mark Austin and his daughter Maddy explore the devastating impact of eating disorders, and investigate whether the healthcare system is providing appropriate care. After they publicly spoke out about their experience at the start of 2017, they have been inundated with messages of support from across the country, including from Prince William, who speaks to Mark and Maddy about his hopes for a more open attitude towards talking about mental health.
8pm, Channel 4
The hunt is on for the UK and Ireland’s best Lego builders, as some of the country’s most skilled brick fanatics do battle to be crowned Lego Masters. In the first episode, 48 pairs are whittled down to just eight final teams through a series of challenges, and those eight must create a spectacular brick banquet, including an impressive chair that not only looks the part, but also strong enough for presenter Melvin Odoom.
Documentary revealing the work of the West Midlands Ambulance Service, beginning with a distraught wife being coached over the phone on how to give CPR to her husband who collapsed suddenly at home, as crews race to save him. Elsewhere, controller Glennis has her hands full as she attempts to juggle between helping a crew search for an elderly man who has fallen in an alley way, and a high priority call for a street brawl taking place, with reports of a man being badly beaten with a baseball bat.
No history programme fronted by David Olusoga will let you down. In this one we see how important television has been in the rise of various authoritarians, from Benito Mussolini to Robert Mugabe.
Jack Nicholson here gives one of his best performances, playing a private eye called Jake Gittes, who pokes his nose rather too deeply into the lives of Faye Dunaway and her father, John Huston, a corrupt Los Angeles tycoon. Writer Robert Towne planned a trilogy about LA, and this first part, set in the 1930s, deals with the city’s water supply and how that source of life leads to death and profit. The script – the best original work since Citizen Kane – is brilliantly organised, though the ending was changed when Roman Polanski arrived as director: Towne’s story never got to Chinatown; Polanski insisted the climax was set there. The result was acrimony behind the scenes and genius on the screen in a masterpiece that repays any number of viewings.