Episode 10
Car collectors are renowned for generally going a step too far. Despite occasional assertions that "enough is enough",there's always another car to buy. The result is that every now and again a collection has to be pruned. That's the situation faced by Ron Jones. Derek visits Ron's Shropshire farm to pick up four fine examples of Britishautomotive excellence from across the decades.
There's a 1937 Austin Seven van hand-painted in the livery of Ron's business, aTriumph TR2 from the mid-50s and a couple of 60s gems; an Austin Healey and a 1965Austin Mini "woodie", so named because of the wooden trim on its bodywork. They areall fine examples of their type.
Two very different beasts are also brought into Thornton le Dale. Owner DouglasMcLay is parting with two cars he's raced on tracks all over the country - an MGA and aTerrapin. Derek, who thinks cars should be respected and well treated not thrashedaround a race track, is less than impressed.
He's more intrigued by a pair of AAmotor-bike and sidecar units in their original AAcolours. These stunning 60s bikes evoke memories of the days when AA men used tosalute members as they drove past.
And, this week, it's not all work. Member of the team find time to head to the North Eastfor the Andrew Hardy Classics Car Show where a 13 year old lad who loves getting hishands dirty under the bonnet is showing off his restored VW Golf.
Trailer
Recently Updated Shows
MobLand
With the most powerful clients in Europe, MobLand will see family fortunes and reputations at risk, odd alliances unfold, and betrayal around every corner; and while the family might be London's most elite fixers today, the nature of their business means there is no guarantee what's in store tomorrow.
MobLand follows two generations of gangsters, the businesses they run, the complex relationships they weave and the man they call upon to fix their problem.
Daredevil: Born Again
Matt Murdock finds himself on a collision course with Wilson Fisk when their past identities begin to emerge.
The Studio
As movies struggle to stay alive and relevant, Matt and his core team of infighting executives battle their own insecurities as they wrangle narcissistic artists and craven corporate overlords in the ever-elusive pursuit of making great films. With their power suits masking their never-ending sense of panic, every party, set visit, casting decision, marketing meeting, and award show presents them with an opportunity for glittering success or career-ending catastrophe. As someone who eats, sleeps, and breathes movies, it's the job Matt's been pursuing his whole life, and it may very well destroy him.