The Trip has always been more than two middle-aged men attempting impressions while dining in salubrious settings. Each series has developed the show further and deepened its emotional underpinnings, with the third instalment justifying its existence by continuing this journey. Steve Coogan and Rob Brydon yet again embark upon a restaurant tour, this time in Spain. Fans of the previous two series will not disappointed, with Coogan and Brydon once again on top comedic form as their (mostly) improvised conversations prove to be engaging as well as terrifically funny.

Some cultural references may not be instantly recognised by younger audiences, yet, this very fact reveals how authentic the show is, as a product of the collective experiences and comedic talent of its two stars. Many of the impressions are superb, with Coogan’s face seeming to morph into those of Mick Jagger and Robert De Niro, as it contorts in his imitation of them, revealing the level of skill that made the satirical comedy Spitting Image employ him as an impressionist in the late eighties.

What is particularly perceptible about this series, is the almost constant reflection on the process of ageing, perhaps because of the fact that both Coogan and Brydon have now reached fifty. In the first episode Coogan and Brydon both reassure themselves that they are still in the ‘prime’ of their lives, and their conversations frequently return to this theme, meaning you can sense their palpable desperation to be closer to their youth then their approaching elderly years. Indeed, Coogan’s defensive response to Brydon’s comments upon the perceived decline of the former’s senses of sight and smell, is clearly more than just an act. The Trip also repeatedly contemplates the issue of mortality, with the sad recognition that a number of people who Coogan and Brydon do impressions of, such as Ronnie Corbett and David Bowie, have passed away recently, adding to the melancholic atmosphere, which is heightened by Michael Nyman’s piano theme that provides the musical backing for the show. The show remains an assault on all the senses, with wide-angle shots of the duo driving through the Spanish countryside leaving you in awe of the power and beauty of nature.

"Many of the impressions are superb, with Coogan’s face seeming to morph into those of Mick Jagger and Robert De Niro"

In an age dominated by the rapidity of social media, the slow pace of the show is particularly refreshing, with the inclusion of scenes such as Brydon reading a book to himself, and Coogan looking at himself in the mirror, giving The Trip To Spain a deeply introspective quality that is free to unravel across the six episodes, rather than making them cluttered and formulaic. The inability to separate the real Brydon and Coogan from the versions of themselves in The Trip is credit to their performances, as they self-deprecatingly exaggerate perceived elements of themselves. With Coogan’s pretensions to grandeur of artistic and Hollywood success a staple theme running across the three series, with his frustration at his inability to land cinematic starring roles in the first series being replaced by his annoyance that his film Philomena did not win an Academy Award in The Trip to Spain. While Brydon once again conveys himself as an affable individual, but one whose frequent recourse to impressions suggests a lack of self-assuredness.

Close-Up: Wes Anderson

The Trip’s move from the BBC to Sky Atlantic has dismayed many, and while it is disappointing that less people will be able to enjoy it, it is at the same time difficult to notice any change at all in the format or quality of the show. The Trip remains unique with its mixture of whimsical hilarity encompassing discussions of effeminate Nazis and trademark Michael Caine impressions contrasting perfectly with strikingly honest reflection upon emotional issues of ageing and mortality. All this ensures it remains a comedy triumph and an immensely enjoyable watch