Australia: The Story of Us, Seven, 8pm

Boxing kangaroo flags will fly high as we pay tribute to Ben Lexcen and Australia 2. The clip from that day, September 26, 1983, still stirs patriotic pride – stealing the America’s Cup after 132 years. You have to wait for it, you know it’s coming, that priceless footage of Bob Hawke proclaiming any boss is a bum if he sacks anyone for not showing up at work. Probably to blame for us enduring that recession we had to have. This excitement is only just surpassed by the amazement on the faces of bionic ear patients of Professor Graeme Clark. We took Australia to the world via culture, film and music. A good dose of ockerism was administered in the form of “Hoges”, through The Paul Hogan Show, his tourism ads and Crocodile Dundee.

Patisserie with Michel Roux Jr, SBS One, 8.30pm

Tracing the historical origins of the patisserie from Revolutionary France to the present day masters, this documentary is a celebration of the flamboyance and refinement of patisserie and should be viewed with a slice of Opera gateau to be fully appreciated. From the meringue to the millefeuille, it is a journey into the world of molten sugar. The iced buns on British high streets are in stark contrast to the French catwalk presentation for the creations of the Picasso of pastry, Pierre Herme. This production sees pastries as a necessary component of life – one that inspires poets and filmmakers and leaves lasting recollections.

Kinne (new series), 7 Mate, 9.30pm 

Like any sketch comedy  Kinne can be patchy, but it’s terrific to see it back for a second season. Led by Troy Kinne, it’s a clever mix of one-off and recurring characters and he hits the sweet spot this week with the What Do You Know sketch. It’s a game show where he, as host, interrogates his ex-girlfriend, her new boyfriend and her mother. It’s a crack-up, but if you were Kinne you wouldn’t want to be single and looking for a date after this went to air. Then there are the unsuspecting passers-by who are left baffled by explicit Tinder messages (though some seem quite open to the offer of a threesome). The highlight is a sketch on sabotaged Chinese tattoos. It’ll have hipsters reaching for the translators. If you’ve not seen Kinne, give it a go. 
Darren Devlyn

PAY TV

Truckers, BBC First, 9.30pm

British film and television brings us a stream of cheery comedy-dramas about colourful working-class folk overcoming adversity in unfashionable cities and suburbs. They’re not always good. Here writer William Ivory (Made in Dagenham) takes us inside a small Nottingham trucking company seemingly dominated by an unbearable driver named Malachi (Stephen Tompkinson). Malachi is divorced but still living with his ex-wife, Sue (Maggie O’Neill). When he learns that Sue is getting remarried he loses the plot. This episode’s climax is as hackneyed as it is silly.
Brad Newsome 

MOVIES

Step Up 2: The Streets (2008), Eleven, 8.30pm

The Step Up franchise is the street dance equivalent of the Fast and Furious series, an increasingly stylised and implausible celebration of an underground culture that readies American mythology for global consumption. The original 2006 Step Up, which boasted a young Channing Tatum and Rachel Griffiths in a supporting role, was about the romantic destiny of a mismatched young couple – a timeless structure with a modern backdrop. The dancing in the sequel, elaborately choreographed and invested with lashings of dazzle by director Jon M. Chu, is the point of the film, with Tatum briefly seen as it’s the turn of Andie (Briana Evigan) to be torn between the history and discipline of a classical dance school and modern styles practised in dance ‘‘battles’’. This a Baltimore far from The Wire, and it’s not clear why two dance crews competing is somehow illegal, but the imprimatur of law-breaking matters in this series, which nonetheless ties everything together with a celebratory kiss.

August: Osage County, (2013), Masterpiece Movies (pay TV), 8.30pm

In the dysfunctional Weston clan, residents on the plains of Oklahoma and made into figures of toxic fury in Tracy Letts’ Pulitzer Prize-winning play, Violet (Meryl Streep) is a pill-popping banshee, while Beverly (Sam Shepard) is a contemplative drunk; they are not entirely happy. When the latter disappears their house is filled by the couple’s three daughters and extended family come to sit, a form of reckoning made familiar by the domestic dramas of the mid-20th-century American play. Such a work needs a memorable matriarch, and Streep does not hold herself back in this screen adaptation from producer turned director John Wells (Company Men). Unsettled and seditious, with skin that could illustrate jaundice in a dictionary, Violet is met head on by her eldest daughter, Barbara (Julia Roberts), who secretly needs their confrontations – which reach a memorable crescendo – to distract from the dissolution of her marriage to her academic husband, Bill (Ewan McGregor). This is a juicy, old-fashioned drama, and while Wells can’t visually extract it from a stage-bound structure, there are some fine performances, including Benedict Cumberbatch as a nonplussed nephew and Julianne Nicholson as the youngest Weston daughter, to illuminate some genuinely effective family revelations. The film makes the idea of turning into the parent whose example you despised a nightmare, and love here is something to be trampled on because it’s a weakness. By the close you may feel like ingesting some of Violet’s pills.
Craig Mathieson