When Tom meets minor TV personality Larry Chrysler he's inspired by Larry's lifestyle and goes about learning how to be successful from his new mentor - but is Larry everything that he claims to be?

Meanwhile, Hal is dressed to impress and secretly off to meet an old friend called Lady Mary. Alex's curiosity gets the better of her and she sneaks off to follow Hal, but soon discovers some worrying similarities between herself and Lady Mary.

The city of Atlantis is a mysterious, ancient place; a world of bull-leaping, of snake-haired goddesses, and of palaces so vast it was said they were built by giants.

It's into this strange, compelling realm that the young Jason arrives and an amazing adventure begins, bringing to life the vast store of Greek myths and legends, re-imagined for a new generation.

Drama and the BBC are inseparable – it is written through the BBC like a stick of rock. No other broadcaster in the world has drama so firmly in its DNA. I want to make BBC drama a cultural institution – a touchstone for quality and modernity with all the excitement and glamour of a curtain going up.

My aim is to build a BBC drama department that has an enormous international reputation. That means making us more British than ever - it is about applying the Danny Boyle vision to our work - a bold, adventurous, authorial approach that exports because of its Britishness not despite it. A BBC that feels inspiringly creative - where there is a buzz and creativity and anything goes optimism.

Ultimately, I can boil this down to one thing – I want to make the BBC the hallmark of quality drama and the automatic home for the best talent in the world.

When an English tourist is found dead in her luxury villa, strangled by her own scarf, the crime scene initially indicates a robbery gone wrong.

However, Det Insp Richard Poole - shrewd as ever - notes that the situation is eerily similar to a case he heard about back in London.

He becomes even more suspicious when former corrupt colleague Doug Anderson turns out to be the victim's husband. Riled by his presence and convinced he murdered his wife, Poole is frustrated further when Anderson's alibi is watertight.

With Anderson ruled out as a suspect, the team's attention turns to the villa's owners Will Teague and Ronnie Stuart, who are acting suspiciously, and the victim's sister Janice Palmer who, it turns out, could also have a motive.

However, Poole still can't get past the idea that Doug is somehow involved. Are his personal feelings clouding his usually impeccable judgement?

Being Human really shouldn't have happened. A preposterous idea, an epic and circuitous development process, a modest budget - no, we really shouldn't have lasted. But Being Human was the little show that could, and that ridiculous idea managed to last 37 episodes, spawn an American version, three novels, an online spin-off, and garner a shelf of awards.

But Being Human was always a collective effort, and none of that would have happened if it weren't for five separate groups of people.

First, the various producers and execs and script editors. Rob Pursey, Matt Bouch, Phil Trethowan, Polly Buckle, and Laura Cotton. Every idea I had was enhanced, improved, enlarged, and enabled by their brilliance and creativity.

Then there are the numerous writers and directors who have had to endure my capriciousness, vagueness, indecisiveness, and propensity to steal their best ideas and pass them off as my own.

It's also given me the chance to work with - and write for - some of the finest actors working today. Russell Tovey, Lenora Crichlow, Aiden Turner, Sinead Keenan, Jason Watkins, Michael Socha, Kate Bracken and Damien Molony. Looking at that list again now, I'm staggered by its ferocious talent and brilliance.

And I have to thank the BBC. Not because I'm obliged to, but because I literally have to. They gave us the opportunity to make Being Human and to make it in the way we wanted. Julie Gardner, Ben Stephenson, Danny Cohen, Beth Willis, Brian Minchin, Eleanor Moran, George Ormond, and Zai Bennett were unwavering in their support, guidance, trust, love, and enthusiasm, and gave us - and me specifically - an unprecedented level of creative latitude. For that I will always be grateful.

And finally - and most importantly - the fans.

I know many of them will be disappointed that the show isn't returning, but all good things come to an end.

We must remember too that the remit of BBC Three is to encourage and support new talent, to give them opportunities to make television, to test out new ideas and formats. In that sense, Being Human is perhaps a victim of its own success. We can't really call ourselves a new show any more, and much as I'd like to think of myself as a young, thrusting, new talent and not a bitter old war horse, the reality is we have a duty to move aside and make space for the next Being Human.

But much like the cast change from seasons 3 to 4, we viewed the news as an opportunity. It meant I could actually write a climax for the show, instead of it just popping out to the shops at the end of season 5 and never coming back. You've no idea how rare that is in television, and what a great opportunity it is to write something suitably definitive and satisfactory.

Consequently, we've created what I hope you'll agree is an epic, thrilling, and shocking finale that'll keep the fans guessing and speculating for years to come.

Then Being Human will belong to them. Once the credits on episode 6 roll, the future of all those characters will exist in the imagination of the audience, to do with as they please. But in a way, the show always did belong to the fans. Their tenacity, passion, and loyalty are what kept the show going and provided inspiration to everyone working on it.

I'm reminded of the scene in series 3, episode 8, with Mitchell and Herrick sitting in the car looking at the sunset. Herrick asks if Mitchell finds it amazing that soon this world will be theirs. And Mitchell says: "It always was."

(Yeah, and then he stakes him, I know. Ignore that bit.)

Working on Being Human has been a truly great experience. From the first one-hour pilot, all the way through to this climactic series, we've been given real creative freedom and encouragement. It's a credit to BBC Three that such an unusual idea has been allowed to flourish and evolve in its own unique way.

I'd like to take the chance to thank Toby Whithouse for his incredible writing and storytelling; the other screenwriters who've made the series their own; the three producers who've nurtured the show; and the many directors who've helped us establish the show's unique tone. Being Human has also opened the door to new acting talent, including some incredibly exciting younger actors, which is a legacy we all feel proud of. We will miss Being Human, but feel inspired that there is a place for series like this on British television.

Being Human has been a fantastic and faithful friend to BBC Three. It's featured some truly exceptional actors and storylines through the years and I'd like to thank Toby and the production team for their vision and passion. However, all good things come to an end and at BBC Three we're committed to breaking new shows and new talent and who better to pass that baton on than Toby?

Alex discovers she's not the only ghost haunting Honolulu Heights. Meanwhile, Tom and Hal go head-to-head in the hotel's Employee of the Month competition, much to the delight of Captain Hatch, who feeds on werewolf/vampire conflict. In the supernatural archive, Mr Rook is hatching a devious scheme to save his department: one that involves newly-made vampire Crumb.