Kaka

A family episode about the right values and what is worth fighting for. A few brilliant dialogue passages are interspersed with stylish entrances to London's high society.

A wordy episode with no major highlights, except maybe the last few minutes. Apart from an interesting auction scene and a fresh wind in the sails in the form of Polly's son, who has "smart eyes" and fits well into the concept of the family business, there is nothing too memorable.

Tom Hardy on scene is worth watching. He plays an irresistible oddball who will surely have a big impact on the entire story of Season 2. Although it’s not very important yet, the storyline of Polly and her son is emotionally strong.

Not nearly as striking an opening as in the first season, but it makes up for it with an excellent and quite surprising ending. There’s more going on in the last few minutes than in the previous fifty.

The British version of Gangs of New York. It may lack the lavish production design and pompous sets of its US sibling, but it's still a well-paced crime drama with brilliant dialogue and cleverly written and well-developed characters for a much smaller budget. The stage is set for the next season.

Very good, but it doesn’t beat the previous episode in terms of drama and the tightness of the story. It's a bit undermined by an unnecessarily expository script with twists and surprises the kind you usually see only in films with "super smart scripts". The surprises and coincidences were many and not very believable given the trends set in the beginning.

Proper and precise building of a grounded, sordid and dramatic, actually in a way spy story. The last two episodes are set to be a real inferno.

The long monologue passages do not feel sterile and stiff after some time; on the contrary, they form the basis for subsequent decisive shifts and steps forward. There’s a lot of talk, but with a lot of gusto, with Billy Kimber taking the imaginary crown.

An interestingly convoluted crime drama, but with a minimum of truly memorable scenes, and the few purposefully shocking ones don't disabuse the viewer of the notion that Bronx is a vastly underdeveloped film with enormous potential, because Marseille isn't on screen all that often. Department 36 still reigns supreme.

Perfect rhythm, balanced leading characters, impressive locations and sets. So far, Peaky Blinders looks like a very focused gangster drama and hopefully it will continue to be so.