Legends: Alliance

 "You're allowed to enjoy it, Guy."

As per the quote... Guy's wife knows him well. He needs the excitement, the risk, all of it. And, as we hear more of Mylonas's background this episode, perhaps the two of them are more similar than either would admit- both adrenaline junkies.

Turning to Kate and Bailey, we have quite the contrast. Kate is game to take risks, Bailey more cautious, causing tension... until an everyday instance of police racism makes Kate realise what Bailey has to live with, and why he has to be cautious. Meanwhile we meet Scouser Shaun, another bored VAT man, who is sent straight undercover, all because he cares deeply about his local community.

And so our protagonists are nicely developed as characters as we explore the world into which they've been dropped, a world of constant risk, calculation, adrenaline, with occasional betrayal and murder, with twists and turns that lead Kate and Bailey to witness the forging of a new alliance between Hakan's Turks and Carter's Scousers. It's all superbly sculpted plot-wise, yet it really gets us to know the protagonists.

Even more worrying, one of the Turks seems to suspect Guy, and a white van is watching his wife and daughter at their house. The levels of risk are off the charts... but this is Customs, far wilder and riskier than the police or the spooks. This is simply gripping stuff. The drug smuggling montage at the start alone is magnificent television.

I'm loving this. 

Legends: Could You Offer More?

 "Lunch money? What are you, twelve?"

1990. It was a very different time, the early years of rave culture, and Thatcher (just!) hanging on. But it was also a time of massively increasing availability of heroin. And so we have the hard-hitting opening, with two young people, from very different class backgrounds but both with their lives ahead of them, have those very lives snuffed out.

There is, of course, a lot of cynicism in how the government of the day reacted- Alex Jennings has an excellent cameo as rightly forgotten Home Secretary David Waddington driving home this very point. Thatcher, at a low ebb, needed a success. But there's no doubting the moral urgency of snuffing out the heroin trade.

The way this is to be done, however, is on a shoestring. Ordinary civil servants from Her Majesty's Customs and Excise are to go undercover, with only a little training, no extra resources and no extra pay... which is, wow. And so we have our triumvirate who have what it takes- Bailey the VAT man (yay, he says cryptically!); Kate the vice officer, and Guy from Customs- a real person who wrote the book on which all this is based. They are the only three who make it through the rigorous selection process, which is enormous fun to behold.

It's a joy, as ever, to experience the sheer charisma of Steve Coogan as Don Clarke, the world-weary yet wise man in charge, the person who anchors all this. And, soon, we see our brave trio into action, and very real danger.

This is going to be fun. Loving the character of Mylonas...

The Night Manager: Episode 5

"They didn't watch the cups, you see."

This penultimate episode sets things up for a tense final episode, with Roper ascendant, Angela in disgrace after being outwitted into crying wolf, and Jonathan seemingly abandoned and trapped inside Roper's inner circle. All this, and they return to Cairo.

Still, Jonathan now has Jed on side after a full disclosure (Will they or won't they? There's a definite spark between them although, of course, there's no guarantee that both will survive.), and the tension between him and Corky has ended with the latter's death, which is a shame: Tom Hollander's performance was enormous fun. But, yet again, Hugh Laurie is extraordinary as the charismatic sociopath, Roper, who sees the chaos and suffering in Syria as a business opportunity.

Meanwhile, Angela gets told that Britain's collusion with Roper is all "in the national interest", and vital for maintaining Britain's place at the top table. I'm sure this will come to the fire in the final episode. The Night Manager has just got better and better after its underwhelm start.

The Night Manager: Episode 4

"To the victor... and to the blind man who can’t see the human bloody hand grenade in front of his bloody eyes,”

This is where things really heat up. Jonathan and Jed finally shag, and about time, too- by this point your practically shouting at them to just get a room. Jonathan finds himself at the very centre of Roper's web and closely implicated in his dealings of not quite fully trusted. He's the coming man, at Corky's expense- and Corky is dangerous, knowing as he does that Jonathan is sleeping with Jed. He's playing a dangerous game.

And it gets more dangerous as Jonathan refuses to abort the mission in spite of the very real risk of being found out, even pointing out to Roper that they're being watched by "cops". All this plus Angela discovers that Roper is supported by corrupt elements within M16.

But the emotional centrepiece of the episode, with an extraordinary performance by Olivia Colman, sees Angela recounting a school sports day in Iran where the children were horribly killed by chemical weapons- and that Roper, psychopath that he is, responded to this by adding said chemical weapons to his stock for sale. For him, this atrocity was just business.

Things are getting serious. Not only is Roper playing with fire by getting involved with Jed but corrupt elements in M16 are getting dangerously close to discovering that there's a mole in Roper's organisation. This is gripping telly and Hugh Laurie continues to be amazing.

The Night Manager: Episode 3

"Becoming a man is realising it’s all rotten. Realising how to celebrate that rottenness – that’s freedom."

This is where it really gets interesting. High Laurie's extraordinary and revelatory performance as psychopath Richard Roper continues to enthrall as Tom Hiddleston's Jonathan Pine cunningly inveigled his way into Roper's organisation at the expense of his rival Corky, whose fondness for the bottle and nubile (is that the right word?) young men is ruthlessly used against him.

Incidentally, Tom Hollander is also superb as Corky, by far the most quotable character and likeable in spite of both his cynical amorality and his right wing proclivities. But this episode is the best so far. Shockingly, it begins with the suicide of an apparently spoiled rich girl on her 16th birthday- raped by Roper?- but it builds into a fascinating game of cat and mouth in which Pine uncovers secrets of, yes, dastardly arms dealing, but also of secrets abounding. Jed and Roper are not getting on and, indeed, I suspect the two of them will grow closer in future episodes. Jed is a sympathetic character, not without a conscience and with a deepening realisation of what a monster her paramour has become: witness the hair that Jonathan finds in Roper's secret study.

But what's this? Dastardly dealings at MI6? Again, a brilliant piece of television.