Well, here we are at the season finale, somehow, which kicks off with Martin creeping through Juliet and Taylor’s house… carrying a hammer? Not gonna lie, I was a little worried about where this was going for a hot second, but then Jess and the rest of the crew came around the corner from where they’ve been lying in wait and ask Martin what he’s up to. While they bundle him into a police car, Juliet approaches Jess and asks if the police will “stop harassing” her and Taylor.

With only one more episode in the season after this one, it’s not surprising that everyone is starting to seem more and more suspicious. And that extends to some folks who aren’t even involved in this case, like Jess’ Dirtbag Husband. We’re kicking this week’s episode off at her place, where she’s watching him with the kind of expression that would leave ME quite scared, but he is somehow ignoring entirely.

Last week, we made another connection between our group of possible suspects and an early-COVID era murder. This week, we kick things off at the station canteen, where our pals chat about the case.

Last time, the threads connecting our murder victim to the various characters we’ve met this season started to make themselves known.

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Last time, we met our cast of possible murderers/witnesses for the season: Melinda, a journalist with a public persona that’s much more conservative than her real life thoughts; two young immigrants — Hassan, who’s just arrived in the UK, and Asif, who’s on the brink of taking his citizenship test; an autistic young man named Martin who lives at home with his elderly mother; and a harried mother/school teacher called Juliet who’s trying to manage her daughter Taylor’s reaction to Taylor's father’s death. And, speaking of: that body that our detective friends have been investigating? It’s the remains of said father/husband, Gerry. Also, as ever, Sunny and Jess have way too much drama going on in their personal lives, but that’s kinda par for the course, ya know?

After almost two years, we’re reuniting with our Unforgotten friends — new and old. Season six begins with our pal Sunny out at a semi-fancy restaurant. Before he can even order, he gets a call and you can guess the rest: there’s a body. It’s old (comparatively). He's got a case.

If you looked at the credits of MASTERPIECE’s World On Fire and the 2004 Agatha Christie’s Marple adaption, or BritBox’s new thriller Code of Silence, one name — and one UK production company — keeps popping up: Damien Timmer and Mammoth Screen. GBH Drama initially interviewed Damien Timmer to get a sneak peek at Towards Zero and MASTERPIECE’s upcoming new adaption of the J.G. Galsworthy’s Victorian epic The Forsytes novel, but we ended up with an in-depth look at how the process of bringing your favorite series to life has changed over the course of Timmer’s career.

Patience — starring Ella Maisy Purvis — concluded its first season on PBS on Sunday with the title character facing the dual fears of anthrax exposure and the possibility of going on a first date. The good news for Patience fans is that UK Channel 4 has already given Season 2 the green light. The bad news is that it won’t premiere on PBS for at least a year. In the meantime, BritBox’s Code of Silence mixes some of the best elements of Patience with a hint of the thriller genre.

Cyril’s story on Call The Midwife shares some parallels with Alphy on Grantchester, even though the series is set a decade apart. Both are men in church leadership. They both have to consider their future wife’s role in their religious career. Neither can afford to have the public perception that they’re engaging in morally questionable behavior. Alphy has already had a scrape with a love interest who was involved in illegal and unethical activity. Cyril’s divorce shares a similar space, emphasizing the need to proceed with caution. But the clearest parallel is that both Cyril and Alphy pursue interracial relationships because they feel natural attraction and chemistry with women they’ve met by chance.