Agyeman is another victim of the wobbly series premiere, which sees her character stage an entirely pink party with the goal of “manifesting” a female baby. But from that heightened introduction emerges a well-rounded and believable character, whose marriage becomes a focal point of the series.

For Smith-Bynoe, this is an opportunity to flex more dramatic muscles than we see on his BBC sitcom Ghosts, and he rises to the occasion – only getting stronger as the season progresses.

Though her initial riff on After Life‘s cynical local journalist shtick raises a red flag, co-star (and writer) Gabby Best later comes into her own as straight-talking O’Sullivan sister Clare.

Youngest sibling Leila (Aimee-Ffion Edwards) is a charming – if somewhat daft – addition, whose dalliance with an awkward London boy is perhaps the most disposable subplot. But even that raises a valid issue around small towns being preyed upon by high-earners from distant cities.

Frances Barber gives an affecting turn as mother Cheryl, whose own love life sparks with the arrival of someone new, which addresses the private hell of being closeted in middle-age; it’s a heartbreaking bind, sensitively written and performed alongside co-star Martina Laird.

Barber also has great moments with Samantha Bond and Sheila Reid, who play estranged sister Orla and O’Sullivan family matriarch Maureen, respectively.

While these pieces require some clunky assembly in the first two episodes, they ultimately form a surprisingly deep and well-realised story that leans more drama than comedy by the devastating finale; it’s only fitting that a series named after a theme park should be an emotional rollercoaster.

Another season of Dreamland is strongly teased and thoroughly deserved, with every chance it could soar to even greater heights.