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And Yvonne's daughter, Sandra Harrison, a doctor who had seen Morse a few days earlier, had killed her mother in a jealous rage over John Barron, who'd seen her arrive last at Yvonne's home. The teenage boy is actually Frank's illegitimate son, Roy, who lied to the police in order to get Simon off the hook for killing Barron. The police deduce the Harrison family conspired together after Yvonne's murder to stop the blackmailing. Yvonne's son, Simon, is questioned in Barron's death, but then a teenage boy admits to having caused Barron to fall off the ladder by crashing into it with his bicycle. It is speculated that the three men had been blackmailing whoever killed Yvonne, and that Barron killed the other two so that he could keep the blackmail money for himself. A local lothario, John Barron, is killed in a fall from a ladder. Harry Repp is also found dead, in the boot of a stolen car.
INSPECTOR LEWIS SEASON 8 EP. 2 REVIEW DRIVER
Paddy Flynn, the cab driver who drove Frank Harrison to his home on the night of the murder, is found dead in a local rubbish dump. Morse's failing health has Lewis assuming a more active role. A year later an anonymous letter sent to the police suggests Harry Repp, who is to be released from prison, may be the perpetrator. Morse, after no progress, is taken off the case after two months, and it remains unsolved.
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Forty years later, FR remains committed to these core values.Yvonne Harrison is murdered in her bed and found by her husband Frank, her body having been left in a sexually compromising position. Challenges of race, class and sexuality have been central to the development of the journal. When Feminist Review first appeared in 1979 it described itself as a socialist and feminist journal, ‘a vehicle to unite research and theory with political practice, and contribute to the development of both’. As well as academic articles we publish experimental pieces, visual and textual media and political interventions, including, for example, interviews, short stories, poems and photographic essays. The Feminist Review Collective is committed to exploring gender in its multiple forms and interrelationships.įeminist Review resists the increasing instrumentalisation of scholarship within British and international higher education and thus supports the generation of creative and innovative approaches to knowledge production. Feminist Review invites critical reflection on the relationship between materiality and representation, theory and practice, subjectivity and communities, contemporary and historical formations. Finally, the nature of the group made it possible to discuss the construction of a feminist subcultural identity in talk about a mainstream media text, and to identify irony and critical distance as key components of that identity, particularly in the discussion of the pleasures offered by the romance narratives of the programmes.įeminist Review is a peer reviewed, interdisciplinary journal setting new agendas for feminism. The analysis also focuses on the ways in which the discourses identified in the textual analysis, such as gender representation, quality and Englishness, are mobilized in talk about the programmes. There is a detailed discussion of the impact of the social dynamics of the group on their readings of Morse. The second part of the article presents an analysis of a discussion group involving fans of the series, which was organized as part of a larger qualitative study of the fan culture surrounding the programmes. The discussion of the ideological subtexts of the programmes then focuses on the area of gender representation, and on the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity. The article goes on to discuss whether the presence of such representations in these programmes leads inevitably to a convergence of 'quality' and conservative ideology. The textual analysis focuses on those elements of the programmes which contribute to its success as 'quality' television, and particularly on Morse as an example of the role played by nostalgic representations of Englishness in 'quality' media texts of the 1980s. The study of Morse and the fan culture surrounding it is presented in the context of a discussion of recent feminist work on the texts and audiences of popular culture. This article consists of textual analysis of a highly successful television series, Inspector Morse, combined with qualitative audience study.