Nolly; Gunther’s Millions

“It feels, somehow, fittingly old-fashioned. In the second episode, Nolly and Larry Grayson – played by an also brilliant Mark Gatiss – talk about the old days, and what’s coming down the line. Both know their careers are fading. They are left to simply reminisce and to wonder, and it is a joy to watch.”
Rebecca Nicholson, The Guardian

“Bonham Carter is pitch perfect as Nolly, showing her fragile but resilient ego as it transitions through the end of her career. “I wasted all those years,” she laments. “I kept my life empty.” And yet this is not a sad sack story of a washed-up has-been (she isn’t, for example, Rose from Gypsy, the role she takes after the Crossroads exit), but a love letter. A love letter both to Gordon herself and to a world where little things mattered, where a soap opera could stop the presses.”
Nick Hilton, The Independent

“Nolly is funny and touching, and does its job of giving Gordon her due. In truth, it could have finished after two episodes, because the third instalment covers the period post-Crossroads and barely has anything to sustain it (Davies includes a real-life incident in which Gordon was arrested with Fiona Fullerton in a Bangkok sex bar, but that’s less fun that it sounds).”
Anita Singh, Telegraph

“The story of Noele Gordon’s sacking might not sound fit for prestige television, but Bonham Carter and Davies’ belief in righting her bosses’ wrongs makes for a touching series, with lessons that are still relevant decades on. It’s a crime that Nolly had been allowed to be lost to the annals of TV history. What a joy to have her back on our screens.”
Emily Baker, The i

“For those of us here for the wholesome doggo content, it’s disappointing. I suppose it is mildly entertaining if you don’t mind not believing a word anyone says. The talking heads who claim to be Gunther’s “employees” are so arch and “knowing” their fake faux pas are irritating. “Ooh, you’ll cut that out, won’t you?” they will say with a hammy look off-camera as if they have said something indiscreet, yet you know it’s rehearsed.”
Carol Midgley, The Times 

“What we have here – once again – is a slim story needlessly strung out over multiple episodes. At least there’s an opportunity to get acquainted with some characters along the way – the people with unplaceable accents and dubious morals who have been sadly missed from our screens since Eurotrash was last on air.”
Ellen E Jones, The Guardian