'The Jacket' is a great episode full of wonderfully written jokes and less emphasis on plot that the previous shows tried. Although still lacking in some areas, and not quite hitting the nail on the head with the gags, the show is nevertheless evolving, taking form into something witty and intelligent.

The plot of the episode is notably thin, but as a result leaves lots of room for drawn-out uncomfortable scenes where such is needed, which strengthen it as a whole. Perhaps the best example of this is during Jerry and George's meeting with Alton Benes (Elaine's father) in which the two are completely out of their comfort zone; intimidated and frightened by the man's passive-aggressive nature. Jerry and Jason both play the parts wonderfully, being utterly convincing and hilarious in their awkwardness. Tierney completes the triangle and delivers a performance both utterly amusing and yet convincingly threatening all the same.

The limited scenes with Kramer and Elaine work well, using both characters but I'm starting to get a little tired of Elaine's usual shelving to mere dialogue recaps rather than anything visual. I understand that there simply isn't enough time in one episode to show everything that she talks about, but it's undeniably frustrating when it happens over and over. As usual though both cast members do a great job with what they're given, with Richards as usual stealing any scene that he's in- check out that curious desire for Jerry's old jacket!

In the end, a strong episode from season two; not quite as funny as some previous episodes, but is certainly memorable and distinct from the rest. With great performances, a wonderful guest character and the lots of Jerry's mundane every-day life philosophy, 'The Jacket' is great entertainment.

Out of all the episodes of Boosh, this is probably the one I've seen the most times, and it still remains one of my favourites. Full of great surreal imagery that deals with psychosis in a hilarious manner; 'The Nightmare of Milky Joe' is certainly one of the most memorable episodes to grace the series.

Perhaps the strongest element used here is the high focus on dialogue between Vince and Howard, which paves way for the episode's funniest scenes. Then again, I've always been of the opinion that this is what separates Boosh from other shows; not the imagery or the characters or anything else, just the unique style that Noel and Julian employ when writing their dialogue. The chemistry is just fantastic, overshadowing anything else that they do, and this episode is a clear example.

I also loved the character of 'Milky Joe' and the entire concept of the two guys slowly going insane… well, Howard mostly. It allows the characters to become higher versions of themselves, more poignant and hard-hitting than ever before, which is a complete joy to watch. Barratt specifically is hilarious as the exasperated and morbid Howard Moon, who is more disconnected with reality than ever. I'd also like to point out my nomination for one of the best delivered lines in Boosh history when Howard admits to Vince that Milky Joe 'is a complete ARSE!' It's a rather mundane line in itself, but within the context of the story and characterisation I found Barratt's delivery hilarious.

What lets the episode down however is a lack of appealing tunes, and a rather uneven pace as a result of the very dry (pun intended) plot. Nevertheless, 'The Nightmare of Milky Joe' is still a classic episode, full of great laughs and a very memorable set of scenes between Noir and Moon.

This one I didn't quite as enjoy as much as others and simply cannot see fans' admiration for it. Sure, it's a funny episode, with some brilliant interaction between Howard and Vince, but 'Old Gregg' just didn't do it for me, sorry. There simply isn't enough to him as a character that makes him funny. Sure, he's pathetic, a little psychotic and he's got a 'mangina', but to be honest, he never really made me laugh; like Howard said, he's just quite irritating.

The plot as a whole isn't too bad, at least until Howard and Vince are separated. Usually this technique works, allowing both to flex both their characters in hilarious situations before Vince comes in to save the day, but it doesn't work quite so well here. Instead both just kind of wait a little, in a bit of lull until the problem can be resolved. It's a shame too that Barratt's performance seems a little off during the scenes with Old Gregg, never really bringing out any of the humorous sides of Howard. Instead he's portrayed as rather despondent and nothing else.

Nevertheless I did love the fishermen, the tale of the funk, the 'love game' song (one of the best yet!) and the brilliant scenes with Howard and Vince just working the chemistry together; trading dialogue and creating some of the best scenes of the episode. Overall, a good show, but certainly not the classic it's made out to be- the poorest effort of season 2 I'd say.

Hilarious episode chock full of brilliant dialogue and imagery; The sandpaper guy was perhaps one of my favourite 'villains' seen on the show yet, allowing Noel to play off his brilliant use of the gloves to great effect, creating one of the best laughs in the episode. During the middle section however, there is a distinct lack of Moon, which hurts the show's pacing and balance for me, showing that the two characters are just as important as each other; which is why the random exchanges between the two usually end up in my favourite scenes.

The plot of the show is a little weak, with Howard looking for the fountain of youth because he's scared of looking old. To be honest I found it a little out of character, and couldn't understand why they didn't have Vince take up this motivation rather than Howard. The 'villains' too are a little less successful than usual, and not quite as interesting (aside from the sandpaper guy and the hitcher, of course) but are nevertheless key to some good scenes here and there. The musical numbers are far and few between in this one, but what is there is brilliant as usual, sticking to the crazy Boosh formula whilst remaining complete fresh and original.

Overall a great episode, with some hilarious moments, but a little unbalanced all the same.

Perhaps the darkest episode yet, 'Escape Clause' is not without its charm, showcasing many likeable qualities that would go on to define the series. Although not perfect per se, this is still amongst my most treasured of TZ episodes, and was actually one of the very first experiences I had with the show.

The episode begins with an absolutely flawless first act which is perfectly paced to allow Wayne and Gomez to bring out their characters, and get the chemistry going. Just watching these two men (even Wayne alone) share the excellent dialogue penned by Serling is enough to justify watching this entire episode, which sadly doesn't live up to its opening act. Furthering the charm of this act however is the containment of the action within the one room, with heavy reliance on dialogue and characterisation which work to episodes advantage in many ways. The themes present here too are amongst my favourite of Twilight Zone concepts, and I feel that although similar to the earlier episode 'One for the Angels', this one goes so much further in analysing the true psychological impact of being granted immortality. It eventually goes on to paint a rather tragic character in Bedeker, who seems to be a man who never gets to really live: whilst mortal he develops an obsession with living and stays in bed, too scared to do anything that might kill him; and then whilst immortal he desperately seeks a 'thrill' of testing death, over and over to no avail. I could go on and on: this is probably just another reason why I love the opening scenes of 'Escape Clause' so much; it's simply a feast for thought!

Indeed if act one is the consciousness of the episode then act two is surely the psychological side, showing the eventual break-down of all such rational thought within a man given all he has ever wanted. This undoubtedly leads to some rather wacky and surreal situations that are sadistically humorous, showing a great deal of wit and dark comedy that until now has been largely underused in the show. Some characterisation in this act is where the episode falters, taking large leaps in all directions without any real development to get there. Wayne's character eventually makes some rather brash decisions that are fuelled by motives not particularly clear, and even though they bring down the episode's seriousness, they also do a wonderful job of lightening things up a bit. Well, as best as Serling could do at least. I admittedly could do with a little less absurdities (such as wishing for the electric chair), but I absolutely loved the fact that he calls the police and calmly confesses to murdering his wife; fantastic writing, and Wayne pulls it off magnificently.

If there is one major thing that puts me off 'Escape Clause' it's the absolutely terrible score which goes to undermine any real sense of intelligent, dark humour; instead slapping an unnecessary slapstick sticker on top with its rather idiotic tone. A small gripe yes, but one that I believe strongly hurts the integrity of the episode quite a bit, and stops it from being that much closer to perfection.

Nevertheless I do adore 'Escape Clause' no doubt thanks to its wonderful sense of humour, thought-provoking themes, excellent written and performed dialogue and it's dark tone which eventually leads up to what is perhaps one of the bleakest ending monologues I've ever heard in a Twilight Zone show. A lot of people don't seem to like it for some weird reason far beyond my reasoning, but for me, this will always be one of the best Serling had to offer.