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Nina Lorimer (Samantha Colley) is dating bingo caller Paul Marlock (Robbie Carpenter) and, when confronted by Morse, has a very different view of her husband’s suspicions. She believes he is responsible for the murder of Clissold, a local businessman recently found shot dead in his car. The stage is set for another complex mystery, which erupts into drama when Thursday’s suspicions that Harry Rose’s place will soon be filled by other would-be kingpins are proven correct. Cole Matthews (Tom McKay) and his brother Peter (Tom Mothersdale) are planning a robbery at the Oxford bank at which the late Clissold was a customer. Morse is caught up in the raid, along with Thursday’s daughter, Joan. Before the day is over, there will be bloodshed, terror and uncomfortable revelations about exactly how far a dying Thursday might be willing to go in hunting down the men holding Joan hostage.

While the bank robbery is key to the episode’s plot, its heart lies in the relationship between Morse and Thursday. The two men’s positions have been reversed here, with Thursday suspended early in the episode for roughing up an associate of the Matthews brothers, and Morse – so jaded at the beginning of this series – acting as the voice of reason and restraint. Thursday is increasingly finding the more belligerent Strange to be his preferred ‘bagman’, and Morse is clearly distressed by both men’s hints that, once he’s passed his sergeant’s exam, he should think about moving on. With Jakes gone, Bright back to his usual remote self, and WPC Trewlove irritated by Morse’s assumptions about her personal life, the station is not as welcoming a place as it once was. Although Morse and his mentor are eventually reconciled, the balance has shifted, and we get the sense that things will never quite be the same again.

We always knew that Morse’s love life was doomed to disaster, of course, but hope springs eternal even when we really ought to know better. The shared trauma of their hostage experience brings Morse and Joan closer together, leading to Morse’s realisation (courtesy of a touch of jealousy at Joan’s brief fling with the manipulative Marlock, along with a touching montage of all the shy detective’s missed opportunities with her in the past) of his slow-burning love for Thursday’s daughter. Sadly, Joan has seen too much of the perils of life with a policeman, and decides to leave Oxford for a fresh start elsewhere. Shaun Evans and Sara Vickers have one last bittersweet scene together, in a conclusion to their story that’s been foreseeable from the beginning, but is no less wrenching for all that.

In a generally mournful episode, there are some bright spots of humour. Max DeBryn usually gets the best lines, and Coda is no exception to that rule (2Alimentary, my dear Morse” is his remark on the stomach contents of the departed Clissold). Morse’s outsider status is usually mined for pathos rather than laughs, but his attempt to come down to Marlock’s level by mentioning the ‘bird’ he’s brought to the bingo (Trewlove, undercover) is hilariously unconvincing and perfectly delivered by Evans. Terry Pratchett fans will be delighted to learn that Thursday’s own mentor was a certain Sergeant Vimes of Cable Street, while those on the lookout for references to Morse’s future will enjoy spotting his college acquaintance Jerome Hogg (also seen in the Inspector Morse episode, Greeks Bearing Gifts).

Death may not, after all, claim Thursday at the end of this series, but its presence has always haunted Endeavour, as Coda makes very clear. Morse’s sweet exchange with his mentor on Joan’s rescue takes place at Lonsdale College, the place where his story began, and where it will eventually end with his passing in The Remorseful Day. With Joan’s departure, we know exactly where time will lead him. Still, the man himself deserves the last word on his ultimate fate. When posing as a house buyer in order to question Nina Lorimer, Morse looks around him at the trappings of suburbia and tells her, “It’s not for me.” Much as he might wish otherwise, he’s telling the truth.

Read Gem’s review of the previous episode, Prey, here.


He’s nothing on Michael Wincott though. Snarling more and more this episode, he’s firmly on Chloe’s side, but not on Jack’s. He’s a Swiss army knife of computer programs too, helpfully sending just the right decryption tool across the secure connection to break the hugely top secret military… oh, you know. It’s 24? Why am I even mentioning this stuff?

It’s not as if it’s a grumble: implausibility, and pointing at it while eating Doritos, is one of the pleasures of the show. And, in truth, this was a cheaper, more contained episode. For the most part, Jack Bauer was trapped in a room, waiting for a computer graphic to slide across a screen. Oh sure, he shoots two people in the chest, but they’re wearing seemingly bloody good body armour, so that’s okay.

The character developments are all elsewhere in this episode instead. At one stage, Michelle Fairley forgets which show she’s in by ordering the finger to be cut off her daughter (just the finger mind: this isn’t HBO). All so that the love of her daughter’s life, who was ridiculously thinking of doing the right thing, will be forced to pilot drones that are converging on London.

Furthermore, President Heller’s speech to MPs in the canteen at the Houses Of Parliament appeared to go well, although it took some time before we found out. After last week’s heckling, us Brits were suddenly meek, polite and applauding in the right places. Stephen Fry sagely nodded at one point. That’s proper Britishness for you right there, friends.

That said, here’s where all the talk of 24: Live Another Day being standalone was a little forgotten. For Audrey now knows about Jack, and newcomers to 24 now know that something happened involving Russians, involving Heller not backing Bauer when it mattered, and involving a lot of intense, fifth Dan glaring from Kiefer Sutherland. For two minutes, anyone who skipped 24 season 8 was in trouble. But, given how 24 season 8 bumbled along, that’s not a bad price to pay for two minutes of confusion. Just know that Audrey’s marriage is basically buggered.

Finally too, Yvonne Strahovski got something decent to do. Yes, it was the latest part of the episode to highlight the, er, ‘lax’ security around the aforementioned Embassy, but at least she got to do in seconds what a military task force outside the door had thought about for a good 25 minutes. There’s no easy way to say this, but she sort of saves Jack by, er, straddling him, declaring she’s CIA, and promising to upload his dodgy data.

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Life In Stages: Episode 4

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Life In Stages • 47m

Award-winning actors Bill Nighy, Chiwetel Ejiofor and Andrew Lincoln reunite 20 years on from starring together in Joe Penhall’s critically acclaimed Blue/Orange at the National Theatre (2000) and in much-loved film Love Actually (2003).

Life in Stages is the National Theatre’s interview series profiling some of the biggest names in British theatre. Filmed on the empty Lyttelton stage, each episode features a pair of creatives reflecting on their stage careers, and revealing the funny, personal and poignant stories behind everything from their earliest theatre memory to their biggest professional highs and lows.

Life in Stages is produced by National Theatre and Wing.


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