Sleepin_Dragon's reviews

Susan and Ed are in a perilous position, still having to ensure the Katuma survey is completed and the RX44 launched, while someone continues to try and wreck the mission.

It's big and brash, wonderfully over the top, and it's definitely ventured into sci-fi territory - and I'm more than happy with that.

A bold move to kick off series two with a two-part story, but it works. The plot felt far too big to resolve in 45 minutes, and the extended run gives the story and characters room to breathe.

It's a very satisfying conclusion. Fast and tense, constantly shifting direction - just as the team seem to get ahead, the villains counter. Proper to-and-fro action.

We learn a little more about Beckett through his ex, with Birdsall great, though the focus leans more on Ed and Ros. Ros is once again racing around London like Sarah Jane Smith with sonic lipstick at the ready.

The visuals are very much of their time, but pretty decent. The space shots are a little raw, but if Doctor Who hadn't been axed in 1989, this is exactly how I imagine it would have looked. Every device bleeps and whirls with pure satisfaction.

I'm a fan of Lesley Vickerage, but she's getting money for old rope here - mostly sitting in an orange suit fawning over Craig McLachlan. Tough job.

Wonderful nostalgia and bags of fun.

8/10.

Colonel Stone is planning to launch a space program, the KC135, but someone is attempting to sabotage it. Ed is deep undercover, training as an astronaut, while forces conspire to block the mission.

Series one was a big hit, and happily it was recommissioned. This opener is a banger - a full-on Mission Control saga, leaning more into sci-fi than before.

The BBC clearly didn't cut the budget for series two; it still looks great, bigger and bolder if anything. Ros's cute Punto has been upgraded to a glorious yellow Escort cabriolet.

Ros remains a brilliant character - brave, sarcastic, and now at super-genius level.

If I had one small criticism, the Chinese island of Katuma felt a little throwback to the 70s, recalling The Champions or The Avengers, where random banana republics appeared weekly.

Craig McLachlan never misses an opportunity to show off his muscles - almost worth watching the episode for.

Perfect comfort TV: brash, over-the-top, and silly as ever. I love it.

8.5/10.

Joe Mitchell is released from a two-year prison sentence for sexually abusing his nephew. The family struggles to come to grips with his freedom; everyone is still trying to pick up the pieces.

The BBC still has the ability to deliver hard-hitting, powerful, and relevant drama. Unforgivable is unapologetic in dealing with such a serious topic - at times it's upsetting, and the dialogue and impact on Tom are quite harrowing.

It's a story that challenges the notion of things being simply black or white. You think you have all the answers, judge and jury, until you strip it back and learn a bit more.

I appreciated that Joe is complex. At the start, I felt only repulsion for him; by the end, I felt a loathing of a different volume.

If I were to be slightly critical, some elements feel underdeveloped. Anna Maxwell Martin's nun, for example, makes a significant admission, but her story doesn't go anywhere; some scenes are a little rushed. Brian's turnaround also left me unsure.

Bobby Schofield gave a terrific, layered performance, with Joe's character developing as the film went on. David Threlfall and Anna Friel were excellent in support.

While I'm often critical of one-off 90-minute dramas, this story arguably needed a longer run time to breathe and develop. Nevertheless, Jimmy McGovern has delivered a very good, powerful drama.

7.5/10.

When Goodwin learns of Jack's involvement in the case, Carol is removed and Ridley is placed in charge. The discovery of a vital clue then points to a rather unexpected candidate for Oliver's death.

Easily the standout episode of the second series - all the elements finally seem to fall into place: the writing, the characters, the performances, the story arc. There's a depth here that has been missing from earlier outings, and it's a storyline I actually felt able to connect with. As for the identity of Oliver's killer, we're made to wait, and it's well constructed.

The title proves significant, and at one point it does give you the chance to piece things together.

With any luck, this puts the Jack storyline to bed - it's gone on long enough. And perhaps Carol might now get a few weeks' holiday; she's certainly earned it.

There's something about this plot and setup that feels tailor-made for Vera - a rugged, northern grit that would have suited that world perfectly.

I'm fairly sure John Michie is being primed for a bigger role in the final episode.

It concludes with a Ridley song, and I've worked out what it reminds me of: 'Allo 'Allo - specifically Madame Edith singing to a room of officers who promptly order cheese for their ears.

8/10.

Oliver Grant, a property developer, is shot dead during a rave. Why did nobody hear the shot? Oliver was all set to take over the family business from his mum, who was due to hand over the reins within the week. The only real lead comes in the form of Glow Up Girl, the rave organiser.

It's a mixed bag, but a stronger outing than the previous story. I like the case, I like the characters, and the family dynamic is genuinely intriguing. Plus, I'm always happy to see Amita Dhiri. What I'm struggling with, however, is the Jack story arc - it's becoming very tiresome. There are only so many times I want to watch him emerging from a yellow Seat Ibiza like he's stuck in a loop.

The rave setting took me straight back to the mid-90s; I was half tempted to dig out my glow stick and orange whistle.

If I were Carol's boss, I'd be concerned at this point. She doesn't seem able to solve a single case without retired Detective Ridley swooping in. I like the format, but it is testing plausibility. They should have brought him back part-time - as it stands, he seems to be doing her job and her parenting.

The singer in the club was a welcome sight... and sound.

Once again, we see that every detective keeps a half-finished bottle of Scotch and two glasses ready to go. Where's the one who prefers Cointreau or Tia Maria?

I've been a little critical, but I did quite enjoy this one. It's more plot-focused and less bogged down in politics. Pretty good.

7/10.

Natalie is unlucky in love - so much so that her failed relationships have a huge following online. She has struck up an online romance with Josh and decides to travel across the country to spend Christmas with him, unfortunately, Josh isn't all he seems.

It's a Christmas movie, complete with snow-capped rooftops, the single girl, unlucky-in-love tropes, and the handsome love interest, but everything is a little twisted, and it's that chaos that makes this one interesting.

There's a lot of messaging: the case of someone having eyes bigger than their belly, piling a plate full of food only to find it's not what they wanted. Natalie has the same issue with Tag - on the surface he's hot, but underneath, he's vacuous.

It says a lot about online dating too: you have to trust pictures, but all is not always as it seems. Some jokes are genuinely funny, primarily thanks to grandma, and some don't quite land. The love story...requires squinting a little; it's a bit like wanting to take home a dog that bit you at the pet store.

I expected another lame Christmas movie, but it's actually pretty good. The Christmas theme feels almost secondary to the love/catfish story.

7/10.

Grace has the opportunity to land a huge project for her interior design firm, but it comes with strings - she must reconnect with her childhood crush, Ryan, who's back in town sorting out his mother's estate. Everyone, naturally, tries to convince them they're destined for one another.

I'm convinced this studio has three bags filled with scraps of paper: one for actors, one for plots, and one for female job titles. Among the actors would be Nick Bateman, among the job titles "interior designer," and they just draw one from each bag and call it a film. These tropes are repeated more often than Only Fools and Horses on UK Gold.

She's an interior designer, he's back in town, she has glossy lips, he looks like a catalogue model. They don't hit it off but obviously fall in love because of the magic of Christmas. The whole thing is agonising.

All Canadian entertainment should come with a hazard warning. If they truly think this is what Christmas is about, someone's definitely been at the eggnog.

I also refuse to believe anyone in this universe orders hot chocolate. It would be an extra-skinny soya chai latte with dairy-free whip, minimum.

Grace is horrid, stringing along poor Quinn - granted, he's dull as dishwater - and the Mayor should be behind bars for blackmail, forcing Grace into whatever suits her festive agenda.

Yes, there are bows on kitchen cupboards, 55,000 Christmas lights, heart-warming piano music, and more plaid and soft woolly blankets than a national emergency requires. Not a cushion out of place, cookies produced on cue. If you've ever wondered what life is like for those painted figures trapped inside a Christmas snow globe, this is it: forced to live and love the perfect, meaningful Christmas... *rolls eyes.*

All the sincerity of a set of teeth from Turkey.

3/10.

1884: Katrina Grant and her child are taken at gunpoint, a ransom note issued-one that's never answered. Forty years later, Inspector Karen Pirie finally gets a meaningful lead on the case.

After a long break, the series returns with a strong, absorbing mystery. Karen's moved up in the world, and so has the storytelling. We get glimpses into her life, but the episode never lingers on the regulars; the focus stays firmly on the case.

Karen's juggling the usual dynamics-her no-nonsense boss, her boyfriend, her hopeless colleague, and the eager new protégé who's there, but reluctantly so.

I have to mention the period detail: 1984 is recreated perfectly. When you think of dramas from the time, there's normally a token secretary who didn't know what day it was, as long as she smiled sweetly. Here, we have Murray; one wonders how he manages to tie his shoelaces.

There are a few neat jokes along the way-Karen commenting on the sun being bright, conveniently forgetting she's in Scotland.

James Cosmo adds real gravitas as Brody, while Frances Tomelty brings her usual class. Their younger counterparts are perfectly cast.

8/10.

Frank is awe struck when Sam Albany, manager of the local side Avon, asks for help with a saboteur at the club. Promotion is a single win away, but someone is determined to rain on the parade.

Take it for what it is - fun, faintly nonsensical, and firmly within the territory this series happily lives in.

It is unapologetically camp, pushing well beyond anything you might conjure up after a late-night cheese binge. Frank and Sebastian wandering into a dark room... not an image I've ever wanted in my life, yet here we are.

James Sheldon sports an extraordinary set of curtains; the last time I saw hair with that level of cultural depth, Troy was shadowing John Nettles in Midsomer Murders.

You do need to suspend your disbelief. Frank Hathaway, I kid you not, ends up on the brink of becoming a football manager - a promotion-chasing one at that. Still, I liked the scraps of backstory we get about him; he's a man we know surprisingly little about.

Credit where it's due: they did actually film in a football stadium, so applause for that at least.

It's absurd - so absurd it makes The Magic Roundabout look positively grounded - but it's forty-five minutes of warm, cosy escapism.

6.5/10.

The Gizmos team investigate the strange disappearances of several company executives, each involved in struggling arms companies. Naturally, something rather sinister lies beneath the shared misfortune.

This is exactly what Bugs does best: a big, brash plot with enough explosions to rattle the cutlery drawer. It looks incredibly polished too - glossy, sleek, everyone immaculate, and the camera work far better than a mid-'90s action series has any right to be. It moves at pace, and even manages to conjure up a little tension along the way.

The first series has been surprisingly strong, and it bows out with a proper flourish. There's plenty to praise, but the villainous duo steal the limelight. Gareth Marks is superb, and Anton Lesser is the perfect partner-in-crime - both pitch-perfect in that heightened, slightly theatrical way Bugs thrives on.

It's full-throttle stuff: rocket launchers, glue guns, tech-seeking missiles... basically the Friday-night shopping list for the Bugs universe. Even the humour lands nicely, with Beckett's awkward partnership with a child adding a few well-timed laughs.

I'm very glad the show came back - this is a confident, lively end to a quality first run.

8/10.

Ed leads a masterclass in karate, but his fight turns nasty when it emerges that his opponent is under the care of Doctor Peter Hunter, head of sports medicine, who has been administering a performance-enhancing drug, tri-meserone. Why is Professor Easterhouse so keen for success?

This is my standout episode from the first series, and it's the one that has stayed in my memory some thirty years on. Sure, it leans on future tech and is a tad sci-fi, but there's something almost chillingly realistic about it - a scenario that feels tangible.

A time when fairness in sports actually mattered; those were the days. The idea of people gaining an unfair advantage was rightly seen as wrong.

Here, the Gizmos team operates as a truly cohesive unit. It's so good you barely notice the beeping devices or the master villain casting. And yes, every show needs a villain called Hex.

Everything falls into place with superb timing - the moment when Ros and Beckett make the big discovery is genuinely chilling. For once, Ros becomes the damsel in distress instead of Ed, and it works perfectly - she's no soft touch.

I just love seeing Ros dash around like Sarah Jane Smith, armed with what feels like a sonic lipstick. The chase sequence with a crazed Kane is absolutely brilliant. Meanwhile, Ed is guilty of some classic mansplaining, and the look on Ros's face is priceless.

Ian McNeice pops up as a fitness coach... no comment.

This episode definitely gets your pulse racing and keeps you on edge. One of the show's finest.

9/10.

A new type of metal has been developed, and a team of mercenaries spot an opportunity to steal it and weaponise it, using a powerful silencer to get the job done.

Hot Metal is definitely stronger than the two previous episodes, but it's still not quite as sharp as the early run of the series. I can't entirely explain why - it just lacks a bit of spark, as if the stakes never quite rise to the level the setup promises.

All the familiar ingredients are present: helicopter searches, deadly laser beams, explosions, Ed getting tied up again, and those Poundland devices that bleep obediently whenever touched.

Once more they raid the catalogue of British villainy, this time giving us Raad Rawi and Nickolas Grace. Both are solid, but more "angry customer in Costa" than fully-fledged Bond nemesis.

My favourite scene is, unsurprisingly, the moment Ros fires a gizmo onto a truck from a helicopter - the episode earns bonus points for that alone.

McLachlan remains dry for the entire runtime, which is impressive, considering he's spent half the series looking as though someone's just hosed him down.

7/10 (and without the helicopter bit, it would have been a 6).

Skeletor has produced an ingenious new toy, the Collector - a battle weapon that can turn anything to stone, and subsequently bring stone to life, including the deadly Colossor.

Finally, the bone-headed one has come up with something useful: a genuinely effective device that poses a rare threat. The episode has pace and energy, and I love the imaginative idea of a device that can animate stone.

If you wanted to go team Skeletor for an episode, this is perhaps his most effective outing yet. He even puts Evil-Lyn in her place and threatens to turn Beast Man into a rug.

There's one of the most hilarious scenes yet: two guards (who seem to have stolen Duncan's spare costumes) are killed, to which Teela says, *"Something strange is going on in Eternia."* Shouldn't the moral at the end of this one be: notice when two peasants are turned to stone?!

One good thing about Man-At-Arms being turned to stone: it stops him lecturing everyone.

And if Beast Man can control all animals, why can't he control Battle Cat or Panthor?

8/10.

Dorothy thinks Sophia is starting to become a little deaf. Rose is clearing out old stuff and comes across Charlie's old camera. Dorothy gets the film developed, and a photo leads to a feud among the girls.

This feels like the beginning of the end, the first episode of the final series, and it's great. It's one of the only episodes where we get a direct bit of conflict between the girls, and one of the very rare times we see Rose angry.

There's a classic scene where Dorothy approaches Sophia, believing she's gone a little deaf, and starts speaking loudly and slowly. I just love the moment when Sophia turns the tables on Dorothy.

There are definitely some new appearances here: the hair is bigger, the earrings are larger-watching series one, they all had flat hair.

There's a wonderful moment where Dorothy breaks the fourth wall, giving the audience a sarcastic glare after discovering that Blanche's initials spell BED. There's also a more serious side where she discusses getting older.

8/10.

Dorothy is delighted to be directing a high school production, but the whole cast comes down with the measles, leaving an opportunity for the girls to star. Blanche is mortified to read her own obituary.

It has a proper panto vibe-very good indeed. There are some glorious moments throughout, and I just love the idea of Rose playing Henny Penny and discovering the ending, Foxy Loxy.

The crème de la crème is the actual stage production: outrageous, a sequence you'll want to repeat just to enjoy it again. Turkey Lurkey definitely steaks the laughs.

I enjoyed the side story too-Rose being more annoyed at being described as 68 than being dead is classic. Dorothy makes a true statement about fairytales having a dark side, teaching kids that life can be tough-a reason why stories like Snow White and Pinocchio are so vital.

8/10.

Teenage girl Laura Kirkham vanishes, and her parents immediately point the finger at their former gardener. Cooper and Fry investigate, though Cooper is distracted by the five-year anniversary of his father's death, while Fry continues to receive those unwanted messages.

If you're after ninety minutes of tension, suspense, and some genuine intrigue, this more than fits the bill. It's top-notch viewing. I'm going to say this is the best show on the box right now - the first in a long while that's become must-watch TV.

It's well paced, and unlike many detective-duo, ninety-minute dramas, there's no lull and no ultra-complex plot that has you reaching for the Lucozade. The opening minutes grab hold straight away - gripping, atmospheric, and worthy of a low-budget horror film.

The previous episode flirted with the occult, and this one dips its toe again. I really enjoyed the whole Black Dog theory - local folklore, dismissed as hogwash by our Leeds detective - it's very nicely done.

I like how the dynamic between the leads is developing. He's beginning to trust her; it's not quite mutual yet, but there's a definite softening. Diane isn't going to make many local friends if she carries on, though - a bit chippy with people, and clearly frightened. Mandip Gill is doing a fine job.

The story is very enjoyable, and the various arcs slot in naturally without ever feeling pushed on us.

I can't wait for episode three.

8.5/10.

Phodex has the potential to end world famine, a fungus that grows only in Brazil. Lennox is keen to keep his product, but Zander, a business rival, is desperate to acquire it, and doesn't mind what he does to obtain it.

If *Stealth* was a minor blip, then *Mamma from Heaven* is a true misfire. It's not a total flop, but it's far from good. The Gizmos team is employed to stop world hunger, yet all we see is a trio trying to protect a vegan sludge recipe from a pantomime villain.

Expert villain casting continues, with Greg Hicks effortlessly portraying menace. Jaye Griffiths is very good, delivering effective "I've just been poisoned" moments and a touch of Mystic Meg flair, but it isn't enough to lift the episode.

Everything is half baked, the pollution of the national water theme could and should have been so much better. The tension doesn't build.

Very flat, sadly.

4/10.

Sisters Sarita and Davina have stolen a prototype nuclear-powered stealth vehicle and started tampering with it, even capturing Ed in the process. They pack the vehicle with explosives, triggering its unstoppable return home.

At some point the inevitable absurdities tipped into outright insanity, and that point is here. Honestly, the plot would have been too much even for Dangermouse.

On the plus side, Julie Graham is excellent, and I'll applaud the stereotypical change-up-we've got two butt-kicking sisters and Ed as the dude in distress. But the negatives are hard to ignore.

Michael Feast-someone I've heaped praise on over the years-delivers a pantomime villain act that's a shocker, making Biggins look like Rambo. The ending feels like a comic relief sketch.

The bubble had to burst at some point; hopefully we're back on track next episode.

5/10.

Steve is set up and placed on a charge of treason, and could a reformed Nazi by the name of Baroness Von Gunther possibly be to blame? The Warden's son, young Tommy, is on hand to help Wonder Woman, and she entrusts him with her lasso for safe keeping. As you do.

Camp doesn't even begin to cover it. The pilot was already in fourth gear, but this first episode of the full series effortlessly glides into top gear, gloriously over the top and wonderfully ridiculous. Evil German countesses, long, meaningful gazes, and a very, very young future Sherlock Holmes-poetry in motion.

The stunts are hilarious; you can almost see the string. Wonder Woman shouts "Hang on, Tommy!" with all the dramatic urgency of Jessica Fletcher calling after a runaway suspect.

Christine Belford clearly had some fun as the Baroness, although for an Austrian her accent is suspiciously on holiday... somewhere in Washington DC, by the sound of it.

Don't shout at me for saying this, but Wonder Woman isn't the most gracious runner. Perhaps it's the boots, but as she races to Steve's aid she looks as though she's gently ambling to avoid being last in the queue at Starbucks.

Wonder Woman, He-Man or Superman-who was the worst offender for hiding in plain sight? Of course, Diana has the added bonus of working in Steve's office.

It oozes 1970s charm, the flashing graphics, those heart-warming and robust values, but at least the spell is broken by a female hero.

It's outrageous, but you can't help but enjoy it. I know for certain that later episodes were much better, but this one has its own special charm.

6.5/10.

Michael refuses to pay for Arthur's tea in the Café, comparing him to a dog peering through a letterbox, trying to get something for nothing. Arthur decides to give Michael a boost, arriving with a small team in court whilst Michael does his jury service.

It's an outrageous episode, it's absurd and funny, and it's so good to see John almost central to events. It packs in multiple laughs, the look of horror in Michael's face when he spots the people in the jury and the subsequent ringtone scene, golden.

The highlight has to be the Godfather skit, with Arthur championing his Don Corleone in a Karl Lagerfeld coat.

It's very funny, but it definitely veers way more to the surreal grouping of episodes. Arthur channeling a warm, salty Brian Cox energy is surreal, but insanely funny, only on this show would you see such a thing.

It's wonderful to see the great Bruce Payne, he made a great villain, still an incredibly smart man.

One thing I cannot let go, the presence of H himself, it's Buckells! Somehow this comic detective is still more convincing as H than Buckells!

Brilliant.

9/10.

Arthur has been performing tarot readings at Bulent's cafe and is close to being banned.

Michael has a new agent and there's a hint of a new book deal in the air, unfortunately Arthur fuels the idea that her new home is haunted.

It's into its third series, so you could be forgiven for expecting a fall off, especially after the brilliance of series two, not a bit of it, it's very, very funny and a quintessentially quirky start to the third run.

I just loved the start, with Arthur believing he's god's gift to a lesbian couple, but The Exorcist scene at the end is comedy gold, absolutely rib tickling. The way it moves from that to Most Haunted, spectacular.

The belly laugh moment comes when Michael wakes up after Birdie has made the most of her photo opportunity. The introduction of Branagh Gallagher was a smart move, Birdie is wonderfully naughty.

Outrageously funny.

9/10.

Italian politician Anna Fabrizi has arrived in the UK amidst a media storm, eager to shake up crooked politics while keeping a hidden relationship secret. Unfortunately, someone wants her dead.

This episode takes a slightly different approach, focusing on Anna rather than a grand government plot or world domination. We get a trio of actors born to play villains-Jon Cartwright, James Coombes, and Peter Guinness. One villain would have been perfect; three feels like a convention, but it works.

The technology is glorious, seemingly £6,000 from Maplin but probably £1.99 from Woolworths-a perfect 90s touch. Ros has a yellow Fiat Punto convertible, absurd yet charming, and far more stylish than anything on the road today.

Made in a time when British politics was stable and Italy was seen as a bit of a basket case-the year of Berlusconi's collapse-the episode has all the theatrics of an Italian opera.

7.5/10.

The gizmos team are on the tail of former banker Bryan Broady, who's acquired a Russian submarine and crew, and travelled to the Dutch coast, with Ed and Beckett, Ros is back in the UK tailing Broady's wife Juliet.

It has a lower rating than the first trio of episodes, it doesn't perhaps have the polish or excitement, but it's yet another polished, gadget filled installment.

The submarine setting works really well, and at times I felt short of breath as I watched. Ok so you can pick a few holes, would the Dutch authorities help Ed so freely, random man in water with no passport.....

You cannot deny that Brian Deacon brings a good amount of villainy, he's wonderfully sinister, like Megamind in a smart suit, Pauline Moran puts Miss Lemon's typewriter down for a few hours to play a small part, it's nice to see her so glamorous, her voice is like a layer of velvety double cream on a rich, dark espresso, soothing and decadent, an underrated actress.

So, I can't help but point out one thing, they're definitely trying to appeal to a target audience, we've got the hairy, muscular, oil covered Russian sailors, and once again we've got Craig McClachlan soaked from head to foot, I'm just surprised his shirt wasn't ripped off as he entered the water. I can almost hear 'Go West' playing at full volume.

It's 1995, a time where Russia was seen very differently by the world.

Loud, brash and camp, but masses of fun.

7/10.

Bulent has bought satellite TV for the café. As he skips through the channels, attention is drawn to a psychic TV show, where someone has stolen Arthur's Memory Man act. Meanwhile, Michael receives some exciting news.

Series Two deserved to end with a banger, and it did. 'Fame and Fortune' is a definite classic - humour, heart, and a magical performance from Delaney.

I love seeing Arthur back in business, outrageously charismatic and perfect for cable TV. In the early days it was all Italian ladies playing darts (though none could hit the board!) - The Memory Man would be must-watch TV. Of course, it goes straight to Arthur's head.

Arthur's word salad is a joy - not even Kamala Harris could match him. You can imagine how long he'd be able to keep people talking on a premium line for.

It's not all laughs, though. There's a serious side, and we learn that Bulent has a heart.

I also appreciated the nod to earlier episodes - that classic moment where Arthur punched a politician deserves another mention.

9/10.

Arthur is forced to move in with Michael after a trousers fire at his house. It doesn't take long before the novelty wears off, and Michael strikes up a friendship with John.

Series Two has truly been a comic myriad of chaos and hilarity - sheer brilliance. I could honestly keep watching episode after episode.

It's so random, genuinely surreal, from Arthur sitting and making a shroud during 'Game of Thrones' to Michael and John enjoying champagne in the woods.

I love Michael's flat - minimalist, tasteful, Smeg fridge, Philippe Starck table - and then Arthur arrives, bringing his brand of chaos and a stuffed fox.

That moment when Michael changes seats to sit opposite John made me think of bingo halls: people really do like their usual spot, and any change can be catastrophic.

From start to finish it's pure gold. The amusing bit of melodrama is glorious chaos, like a scene from 'Crossroads' - the only thing missing is Miss Diane.

I also loved seeing a young Bulent, with hair and hope. This episode is packed with goodies.

It almost feels like a fitting end, but I'm so glad we were given a third series.

9/10.