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"More emotion came out of Ros in those few minutes than her entire time on the Grid. It was impossible not to watch open-mouthed as the episode gathered in pace and tension. The implausibility of the ending didn't seem to matter in an episode dominated by twists, thrills and spills. The ending managed to be emotionally charged but still cold and detached - a speciality of Spooks."
Natalie, Beckenham
"On the whole an excellent, well-paced episode, full of tension. The compromised position Ros found herself in was adeptly shown, with the viewer left guessing to the last as to where her loyalty would finally rest. One gripe: the 'death' scene at the end saw much of the emotion of the previous 55 minutes ebb away. Instead of feeling shocked and saddened by her death, it left me puzzling over the plausibility of the scene - even allowing for the heightened reality of 'Spooks'. This was asking for a big leap of faith from the viewer."
Colin Scamell, London
"Despite writing out the brightest, wittiest and most interesting character, this is the best Spooks episode to date. With the quieter scenes as tense and gripping as the faster action, this was the most thrilling hour of TV I've seen all year.
Excellent acting all round, especially from Hermione Norris, who conveyed Ros' emotions, intelligence and humour to perfection. The well-timed laughs greatly added to the enjoyment without in any way detracting from the tension. Jo's smile at the end was a lovely touch in recognition of where Ros' heart really lay. What a way to go." Frances, Cambridge
"Another high octane episode. Do we know who the 'good guys' are anymore? And more to the point, do they? Ros' predicament of being caught between her loyalty to the team and her commitment to Yalta convincingly reflects the ambiguities of the post 9/11 world. The drama and tension of the fast-paced narrative was conveyed by oblique camera angles and intensely varied lighting.
Juliet's long-overdue return was welcome, but I felt it was an opportunity rather squandered. The scenes with Harry, which should have been electric, were instead oddly muted, and in strong contrast to the interchanges between Harry and Ros which were by comparison, strikingly intense, moving and well acted.
Liz, Nottingham
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