Life on Mars (UK)

Season 2 Episode 8

Episode 8

Aired Monday 9:00 PM Apr 10, 2007 on BBC

Episode Fan Reviews (18)

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  • Life without Mars

    Just finished epi 8 and I rewound it again and again - excellent writing and direction and acting and continuity, and set design and costumes and every other measure for a television series. And Phil Glenister was at the top of his game in every freakin episode; his character was so full and complete and REAL I just couldn't take my eyes off him. The worst thing about this show is that I know that it is even better than I know it to be, because there is a lot of depth I did not get in the slang and all the little things I missed because I'm American and not British.

    My one word final rating = HUZZAH!
  • He worked out the reason, and he went home. Just as the series promised every week.

    I loved this finale for many of the reasons others hated it -- because it took the central concept of the series, the opening repeated before every single episode, and essentially turned it on its head.

    Everything we were told about the series each week ("[Sam] had an accident, and woke up in 1973") was wrong. The "real" Sam did not (literally) wake up in 1973. He was a fictional person who woke up in a fictional world. He never needed to work out "the reason" -- he was there because that was his reality.

    And oh, how the show brilliantly turned around the idea of "getting home." It kept telling us that Sam needed to get home. Yet, "home" as we knew it for Sam was nothing but a series of voices in the static and strange phone calls. Nothing real or emotional or tangible.

    Indeed, the show spent 16 episodes showing us how "1973" was Sam's reality -- "1973," and not "home" was bright and loud and beautiful, and full of characters we loved. The idea that Sam would have to "destroy" (actually kill) these characters-- these *people*-- in order to get back to voices in static and strange phone calls seems almost unthinkable. And yet, he does -- voluntarily or not, he leaves those characters and the world he, and by extension, we, have come to love and goes "home."

    The trouble is it's not "home" to him, not anymore. It's not his reality anymore. One of the reasons I can't accept the idea that Sam never actually woke up from the coma is it negates the power of the ending. Sam has to be awake, and "alive" in 2007 to realize he's *not* alive ("You know when you're alive, because you can feel it.") And in order to feel alive again, he has to be...well...dead.

    That powerful sequence on the rooftop is wonderful, because Sam finally has all the information -- he's awakened from his coma, and is now "home" -- and yet, he goes "back" anyway. Whereas "1973" was a place where he felt trapped before -- now, it's a conscious choice. How else to explain him *running* to the ledge and *leaping* over it? He's going home. No wonder the BAFTA audience applauded after he jumped.

    Sam's decision is further cemented in the closing moments of the finale -- where, for the first time in the entire series' run, he "changes the channel" to tune out the voices in the static. He's spent 16 episodes begging the people from 2007 to talk to him through the radio, phone and television. And now, he no longer needs them. It's not his world anymore.

    I guess the finale really worked, because for me, "Life on Mars" wasn't about Gene Hunt or Annie or the politically incorrect policing procedures and politics of the '70s. It was the story of Sam Tyler, trying to get back to 2007 from "1973." He worked out the reason, and he went home.

    Exactly as the show promised. :)
  • Home is where the heart is

    For Sam Tyler it was apparently 1973 with the lovely Annie even if it did mean a lifetime of winding up/being wound up by Gene Hunt.

    The episode flirted with the idea that Sam had gone mad all along but I don't believe anyone was really convinced, especially as the possibility hadn't been seriously considered in the other 15 episodes.

    The ending we eventually got was probably the one most people wanted. Predictable enough but I wouldn't have imagined the usually cautious Tyler actually jumping off the roof! Neat enough way of solving his dilemma

    A fabulously entertaining series which will be sorely missed. Hugely enjoyable, great acting and stories
  • Stay Written by Matthew Graham Directed by S.J. Clarkson

    Annie: "Tell me what's hurting you?"
    Sam: "I can't".
    Annie: "You're gonna leave us, aren't you?"
    Sam: "I was always gonna leave you".

    And here it is the final episode in Sam's two year (TV wise, not actual chronology) tenure in 1973. Frank Morgan set everything in motion last week and with Sam hearing voices that he could be coming outside of his coma very soon, he's only too eager to do his part to get out of there.

    There was no misunderstanding in Morgan's need to nail Gene. Sam learns pretty quickly that Morgan wants Gene out of the police force and used as an example to usher in modern policing. Not only that but Sam is also a little too happy to help along which later adds some validity to Ray's Judas comparison.

    From the moment they clapped eyes on each other, Sam and Gene have tired of the other's policing methods. With Sam it's now gotten to the point where he can no longer tolerate it and Gene's latest act of rash behaviour only has him too willing to spy on his colleagues for Morgan.

    In some ways Gene did have this coming. Despite being repeatedly warned by Sam that his methods (in spite of their results) are too extreme, Gene has no qualms in using some torture along with Ray in order to get Sykes to spill a name on a planned train robbery. This is of course, after Gene's previous act of recklessness caused the death of another informant.

    Sam tries reasoning with Gene only for Gene to ignore him for the umpteenth time and with the likes of Ray always complaining about Sam, it does feel like Sam doesn't have anyone to point out that he's right. Chris never stands up to back Sam and even Annie doesn't try and warn Gene off his plan to nail cop killer Leslie Johns.

    Frank on the other hand seemingly represents everything Sam aspires in the police force. Sam wants to be a world where the police aren't treated with contempt by the public and do genuinely help uphold the law instead of abusing it. It's also not a shock that in 2006, the name Frank Morgan also means a surgeon who can operate on Sam's tumour and bring him home.

    In 1973 the Frank there is also promising to bring Sam home there as well and that's enough to make Sam turn traitor. Watching the scenes where he's uncovering information on Gene's recklessness still cause a divide. By right, people like Gene shouldn't be in the police force but at the same time, even I have to admit that Gene does want to do the right and get results regardless of the brutal approach he takes to accomplishing it.

    Another thing on Sam's mind is Annie. He's been lusting for her for quite some time and they share enough intimate scenes to get tongues wagging. Annie's clearly so in love with Sam that her refusal to spend one night with him must be her way of dealing with the idea that she could lose him forever.

    Annie even begs Sam at different points in this episode not to leave. At first Sam is insistent that he can't stay but the more the episode progresses, you can see that he's wavering. He did tell her repeatedly that she was one of the few things about 1973 that he didn't hate after all.

    However the sting in the tail comes when Sam is confronted with some grim information from Morgan. With Sam's work not being so complete, it's then a shock to the system when Morgan tells Sam that his real name is Williams and that Ruth and Vic were never his parents.

    John Simm was always gonna up his game in the last episode of the series but the series where Sam begins to realise that he really might in 1973 sees him pull in a tremendous performance. Sam's total despair of thinking that he might have amnesia instead of being in a coma is riveting.

    There's even a wonderful scene where Nelson tells him the difference between knowing and feeling when a person is alive. Sam has acted like he's been stuck in a dream world but it's also one where he's felt very alive in as well in spite of his protestations.

    Of course knowing that he's been betraying everyone all along makes for an awkward confrontation. Although it's typical of Ray, who's never accepted Sam anyway to lose his temper, both Chris and Annie had more powerful reactions. Both of them looked up to Sam in different ways and it's easy to sympathise with them.

    As for the train robbery itself, it's amazing how quickly things can turn life threatening. Sam had a vision (thanks to the Test Card Girl) that Gene, Ray, Chris and Annie were going to be casualties and when it became apparent that Morgan had every intention to let them, Sam finally realised that he had been played big time.

    The funny thing is that it was this moment when Sam finally woke up from his coma. Frank had just about managed to save him and Sam talked openly about what he was dreaming all that time. The scene with his mum was the most powerful. As soon as she told him that he always kept his promises, I knew exactly what Sam was going to do next.

    Maybe it's depression, post traumatic or even clarity but whatever the case may be, Sam thought that 1973 was a better time period to live in than 2006. As his colleagues droned on about improving the police force, Sam went to a roof and threw himself off and saved Chris, Annie, Gene and Ray from being murdered.

    Would I have done the same thing if I had experienced what Sam did in that period of time? I don't know if I can answer that question but I get the allure to a degree. By coming back, Sam redeemed himself in everyone eye's (even Ray) and better still, after sixteen episodes of relentless teasing, Sam also finally got Annie.

    Also in "Episode 16"

    The Hyde that was alluded to so much in the series was the ward in which Sam was at while in hospital.

    Frank (re Gene): "He's out of control. He's like a cancer. The sooner we cut him out".
    Sam: "The sooner I can go home".

    Gene's comment about Sam wanting to read an article in Jugs reminded me of the fact that there are actually articles in straight men's magazines.

    Frank (to Ruth): "Let's hope he's strong enough".
    Sam: "I'm strong enough, Mr Morgan. You cut that cancer out".

    Sam: "It has to be done".
    Test Card Girl: "But it's a very messy job, Sam. Are you strong enough?"

    The actress Judi Jones who played the older Ruth Tyler has a very similar sounding voice to Joanne Froggatt who played the younger Ruth in Season One.

    Ray: "Doddle, Guv. It's not Hamlet".
    Sam: "It's a good job because Hamlet is a tragedy".
    Ray: "Trust you to know that, poof".

    Frank: "You have amnesia, Sam".
    Sam: "I'm in a coma, Frank".

    M.A.R.S. in this episode stood for Metropolitan Accountability And Reconciliation Strategy.

    Sam: "I need more time. I can't think".
    Frank: "You can't uphold the law by breaking it. It's what you always said".

    Nelson: "I can see a darkness in you, Sam".
    Sam: "Oh you can see into me, Nelson? Well, go on then. Tell me, am I mad? Is this real, cause I want to know the truth?"

    The Ruth and Vic that Sam saw gravestones died in 1862 and 1870 respectively whereas the "Sam Tyler" died in 1881.

    Sam: "I'm trying to save your lives here. I am not your bloody enemy".
    Ray: "Cut the crap. You've been our enemy since day one".

    Annie (to Sam, after slapping him): "It hurts, doesn't it? That's because it's real".

    There was a nice bit of continuity here with the roof. In Season One Sam threatened to jump to return home and now he actually jumped to return here.

    Sam: "You can call me a traitor all you want, Guv but I'm the only one who can get us out of the **** you created. Morgan!"
    Gene: "Looks like lover boy isn't coming".

    Frank (to Sam in 2006): "It's amazing I got you back at all. Quite an achievement".

    Okay to further prove that I watch way too much Doctor Who but I did keep thinking of John Simm as The Master when Sam was all suited up. Then again, he did take on that role not long after this episode actually aired.

    Sam (to Ruth): "I went to some place, Mum and I woke up everyday in that place and I told myself I was alive and I was, in some ways more than I've ever been".

    Standout music: Well there was the repeated use of David Bowie's "Life On Mars" and "Changes" but I also think "Decision/Indecision" by Atomic Rooster, "I Hope I Don't Fall In Love With You" by Tom Waits and the score music were also noteworthy.

    Sam: "Tell me".
    Annie: "Tell you what, Sam?"
    Sam: "Tell me what I should do, Annie".
    Annie: "Stay. Here. Forever".

    Sam: "If you injured somebody in this car, it's technically a criminal offence".
    Gene: "Oh shut up, you noncey arsed fairy boy".

    Chronology: It's about August 1973/2006. Sam's been in a coma for at least five to six months give or take.

    As a series finale go, I was undecided about this episode. A lot of people voiced disappointment and I allowed that to cloud my judgement when I originally watched the episode but when I sat down reviewing this series, I found myself enjoying it more than when I originally watched the episodes. It was the same for this but as last ever episodes go, I found it satisfying. Also now that I've completed Life On Mars, that means I can get round to reviewing Ashes To Ashes now.
  • The perfect ending

    I don't think there could of been a more perfect or more fitting ending to a wonderful show, i loved it though sam tyler jumping off the building was great and when he comes and shoots the train robber dead so so so good, anf finally him and annie are together the perfect couple, and she actually looks like a women unlike his stick figure like the other girl friend what was her name maya, it was great that we saw him go back i hink it would of been darker and more interesting if he had just jumped and we hadn't seen him on the other side but i loved it all the same.
  • Life on Mars finaly meets its maker

    What a great series. Guns, Birds, Booze, Mancunians and (maybe) Time travel. What more can you want? It's been a wholey original series that has great charm and cracking dialogue. We've become used to this week in week out, so imagine my shock to find that Episode 8 of series 2 managed to do the seemingly impossible and drop the ball.

    Quite simply, I think the writers missed a chance to do something really special with the finale of "Life on Mars". This episode was below par when compared to nearly every other of the last two series, and as a finale it's quite a mess. I was never really expecting to get any concrete answers as to whether Sam Tyler was living in a dream world or if he had indeed really been transported back in time, but i was looking forward to an emotionally charged finale all the same. Sadly, the series appears to have left us on a bum note.

    Compared to past storylines the whole "crazy cop killer/ train robber" was very tepidly run of the mill, and the way they dealt with Sam's return to the "real world" was uninteresting to say the least. Maybe it was time constraints, or the lack of a mega budget (a la "Lost" in the US) but "Life on Mars" ultimately failed to capitalise on the mystery and intregue that it has slowly built up over the last 15 episodes. There was no pay off and we were never given any real understanding as to why he was seemingly in the 70's in the first place. We were given the impression that the series was headed towards some sort of finite goal, maybe we'd at last find out what Sam Tylers real purpose was. But alas, it seems the storytellers were content with avoiding any real high concept and settling for a paint-by-numbers filler ending. Its all a bit of a mess really. If there was one saving grace it was the performances, which were fine as always. John Simm IS D.C.I Sam Tyler, plain and simple. Still, I can't help but be disapointed at the lack of imagination shown in this episode, and as a result it has put a slight dampner on the rest of the series.
  • Lacking...

    This episode was no where near as good as the other episodes of Life on Mars. Don't get me wrong, this was still a great episode and did a lot of questions but just did not seem to be up of to same quality as the prior 15. I do feel that the Producers maybe tried to stuff to much on us in the last few minutes then they should have. I personally would have enjoyed seeing the cast as part of Sam's Life (much like Frank Morgan was). Annie could have been his nurse, Chris could have been a resident, and Ray could have been an orderly. BTW, I did not forget Gene Hunt. You will need to watch this episode to understand.
  • Loved the way it keeps you guessing not only about the dcase's their trying to solve but about whats happening to San aswell.

    life on mars.

    Can't belive that they have finshed the show. in a way i'am realy glad that the have explained everything that was going on and i loved the way the writers kept you guessing right untill the last mintue.

    With most shows these days you can usaly tell by either the first ten mintues or by reading the papers.

    I hope they do more episodes as it would be nice to see how sam deals with now lifing life in the 70s and espically how his and Annies relationship works out [so glad the writers made it a happy ending]

    But guess i'll just have to buy the dvds and watch them all over again.
  • I'm probably going to be crucified for this, but series 2 of Life on Mars actually disappointed me. Here's why.

    First of all, just so you wont' stop reading and go hack into my computer or have pizzas sent to my house for no reason, I do like Life on Mars. I love it. It's amazing that British television has reached production values so high while other European televisions are struggling to reach mid 70's American soap opera level.

    With that out of the way, I do think Life on Mars promised more than it delivered. I've been reading this interview with one of the series creators and this bit surprised me:

    "To be honest with you, I was always slightly surprised that people thought there was a genuine mystery. To me, it was very obvious – he got hit by a car, the doctors and nurses were speaking to him over the radio and through the television and he was in a coma."

    It seems to me that audiences have grown more refined than creators in the last few years. We don't only like to be challenged, we expect to be challenged. You hint at a mistery on a show and you can be sure that legions of fans will work to solve the puzzle. That means that, as a creator, you need to a) be really talented, creative and hardworking and b) provide a puzzle for the audience to solve.

    Life on Mars did the first, but not the second of those things. Season One did provide a puzzle AND its solution. The puzzle was "what are those flashbacks"? Can Sam stop that from happening? Does it even matter? The series finale solved all of those, leaving only the titular question "Am I mad, in a coma or a time traveller?" to be solved. Frankly, if you're not expecting people to take something as a dilemma you probably should keep it out of your title sequence. Because that's what I was looking for in Series 2: the solution to that. Instead I had the series either ignoring it altogether or just assuming that the coma theory was the only viable one and going for it. In fact, the moment I liked best in this episode was the brief time when we're led to believe that Sam is a madman in 1973. Sure, that had huge logic problems, but it was the only one of the three options (mad, coma, time travel) that hadn't been explored AT ALL in the previous 15 episodes. It was door number three, the blow from the blindside. But I knew it wasn't true. Years of Twin Peaks, Desperate Housewives and Lost have trained our mind to notice that kind of thing. You're never told the big secret in the middle of the second act. There's always a twist. It's just that the twist in this episode is what we've all suspected for two years: Sam is in a coma, he is going to wake up in the end.

    Now, the interview I mentioned above does say that audiences cheered when Sam jumps off the roof at the end. They thought that was the true ending of the show. "I couldn't bear for Sam to not go back to 1973", says the series' creator. The audience, however, seems to be wholly prepared to embrace such a dark, prosaic ending. I'm proud of us as a viewing public. As Steven Johnson states in his famous book "Everything Bad is Good for You", modern TV has prepared us to accept more complex storytelling that would have left audiences sending angy letters to BBC complaining about how you can't kill off Dr. Who or whatever. But it's 2007, and nostalgia aside, we can take it. We can take an unhappy Sam Tyler being unable to feel alive on the present day and commiting suicide. We are sophisticated enough to assume that such an ending is not a suggestion that we all should jump off a cliff like lemmings and give up our grey, dull, inhuman lives... though, then again, maybe some of us wouldn't.

    And that's the real problem with this episode. It's not willing to go to a place where people won't be satisfied with it, and when you build up characters for fifteen hours, there's no satisfaction in writing them off as figments of some comaotse cop's imagination. The writers knew this and refused to push through it (as the interview said, make a nod to them having existed back in 73 or something like that). So they weren't ready to get rid of the cast and they weren't able to make a moral point about them. I doubt they'd rationalize Gene's methods on their real lives, as most of us wouldn't... which doesn't mean we don't enjoy the character. In this, the writers gave in to their geeky, childish instincts and gave us a fairy tale ending: Sam dies and goes to 1973 heaven, where he can be the Manchester version of Starsky and Hutch on a battered tan Ford.

    I like how House constantly deals with this problem by just assuming that the titular character is unethical, a good man and a genius all at the same time. They just found a way to embrace the contradiction, discuss it and keep the narrative going without having to turn House into a convict without a licese, which is what probably should and would happen to him outside his fictitious world. The same could have been done to Gene in LoM, but the closed narrative in the series and the premise itself forced the creators to pass a final judgement on his character. They chose to make it a positive one. They couldn't do anything else... but it's still a cheap, easy way out.

    Again, this doesn't make Life on Mars bad drama by any means. It just makes it slightly disappointing. It's as if Alan Moore's "Watchmen" ended with the superheroes saving the day and proving that they are useful to the world: you ask the right questions but lack the guts to give the right answers. Still, it certainly beats not asking the questions at all.

    Now Life on Mars branches off. David E. Kelley has a chance to not make this same mistake on the US remake. He probably has more episodes to work with and no pre-set ending, so he might be able to find a House-like balance. Then, there's Ashes to Ashes which, again, has a chance to arrive to the opposite conclusion (or an entirely new one) by getting there in a similarly enjoyale way. I'm on board for both things.

    A final word on structure. I'm not British, I'm Spanish. I'm just amazed at how LoM managed to be a self conclusive, high quality 16 episode series. I've seen that business model work in Japanese anime (Cowboy Bebop, Samurai Champloo, Paranoia Agent), but never on western TV. It's certainly a valid approach that helps creativity and, with enough budget and talent, creates superior storytelling. I just don't know how profitable it is. I'd certainly like to find out. If coming back for more and more seasons of long running series turns out to not be more profitable than just laying out the plot and going away while you're winning, then TV execs have been making a fool of themselves for decades.
  • Oh my god!

    It's the rare show that pulls off the old bait and switch so successfully, and takes the audience with it with so little resistance. At the beginning of the episode we're thinking, "Wow, Sam might finally get to go home!" and by end we're so glad he made the decision to return to 1973 (whether 1973 be the actual time and place, or if it's in his mind, or whatever - it really doesn't matter). The Americans could really learn a thing or two from ballsy British drama shows like Life on Mars. Some might say the ending was telegraphed from much earlier in the episode, or maybe I've just watched too much gawddam tv, but by the end I didn't care, even though I had a strong suspicion of what was coming - it just ended so freaking awesomely that any small niggles I might have had were completely forgotten. Kick-ass tv all round!
  • Words fail me amazing finale!

    That was an awsome ending!
    I'd wondered how they could bring closure to the sure with out it somehow seemingly like an anti-climax, needed of worried they pulled it off perfectly and leaving just enough wiggle room for the truth to be whatever you want it to be.

    This has been one of the best shows (along with The Doctor Who revial) of the last few years, sorry to see it end but it always had a finite life and good to see it go out on top.

    And Gene Hunt is the man! Can't wait for 'Ashes to Ashes' to see how he copes in the 80's :)
  • The final episode to the series not season!!

    Man I can't believe that this fantastic and original show has come to an end!!

    Sam's story has finally come to an end albeit a confusing one.

    The writers once again did a bang up job in keeping this episode fast paced, intriguing and emotional. Sam encounters Morgan again and is told that in order for him to return home, he has to provide evidence of Gene Hunt's misconduct and negligence.

    Sam agrees to this in order to return home but is clearly feeling guilty by this.

    The team go undercover for a big job involving "cop killers" and Sam is told that he is not in a coma and that his name is not even Sam Tyler - this was an undercover identity chosen from the graves near his Mother and Fathers graves.


    The team find out that Sam is apparently working undercover for Hyde and this goes down well - NOT!!

    At the end of the undercover operation it all goes horribly wrong and Sam has to make a choice to stay and help his friends or step into a mysterious light that appears. He chooses the later and wakes from a coma back in 2007.

    Finally we know what was happening - wrong.

    Sam is confused and appears to be unhappy back in 2007 and decides to jump off of a roof!!

    He then suddenly appears back in front of Gene and the others who are near to be killed and saves the day.


    Even though I'm more confused now than I ever was - this show was absolutely a joy to watch and I hope that Ashes to Ashes goes ahead and is just as good!!!
  • Fantastic end to an already brilliant series. Upset that they are not making another series. So glad Annie and Sam finally kissed. The series was so different to anything else that has been on television and makes a change from them relality shows.

    The final episode had to be the best, and for me it definatly was. The twist right at the end kept us on the edge of our seats right till the end. I will miss Gene Hunt with his brilliant one- liners. I think Sam and Gene were like good cop - bad cop and it made the whole two series alot more interesting. So glad it didn't end like any other show- they wake up and everything is fine. I liked the way the barman was involved in solving the final piece of the puzzle and the way he never broke his promise and went back to Annie. As, I said before will miss Life on Mars and will definatly be buying both series on DVD.
  • wow! I mean wow! Well was quite good.

    Well, what can I say, another great episode and an episode finale at that. The ending was good, because it made you think, and in some ways could be any twist, I mean was he from 2006 or was he actually from 1973, really if you think about it, it could be any of those, and in this way it leaves it up to the audience to decide where he was from. Gene lived up to his character with his great one liners and was pleased Sam and Annie got together in the end, was a kind of arrr moment. Pleased it didn't drag too long and thought that was long enough, although I've heard they've wanted to do a spin off set in the 1980's this time. Don't know how well that would work? Although may not be too bad if it's not the same. Peace-out.
  • Incredible TV.

    In this day and age of Ant & Dec, Vernon Kay and awful reality TV Life on Mars has reminded me that, every now and again, there can be telly worth watching. This series is the best british show since 'Our Friends in The North' over 10 years ago. Superb. Absolutely superb.
  • Wow. Just wow

    Well, here it is. The last episode of Life on Mars and while it did provide some answers to the questions it stil remained extremely confusing. Although I really liked the ending.

    So, in the last episode Frank Morgan said that they would get Sam home. In this episode, Sam discovers that he will have to bring down Gene Hunt in order to do so.

    Anyway, long story short, Sam wakes up back in the present, seemingly supporting the coma theory. But Sam doesn't feel alive in the present so he jumps off a building and goes back to 1973. So is he now dead in the present? I don't know. Well, he saves Gene and Co. and stays in the 1970s.

    The end was great. Not what I expected, but what I wanted. He snogs Annie (YAY!!! Finally), and Gene drives off into the distance, listening to Life on Mars and arguing with Sam. How it should have ended.

    Ok, so back to the confusingness. Sam has spent two series trying his hardest to wake up in the present day. But then he jumps off a tall building to go back to the past. And after two series of listening to the voices he says that he hates that station and changes the radio channel. Why? Not that I'm complaining and I suppose it does let you draw your own conclusions about what has happened and indeed what Sam's future is.

    All in all a spectacular ending to a spectacular series. Well done

    10 out of 10.
  • What a finish! But very confusing! *SPOILERS AHEAD!*

    This is indeed the final episode of Life On Mars and I must admit it ended amazingly and unexpected, but there were so many confusing parts to it. There's a cop killer on the loose, and it is revealed by Frank Morgan (previous episode) that Sam's an undercover cop and his real name isn't Sam Tyler its Sam Williams. Sam suspects that Frank is the person operating on him. Frank says the reason why he can't remember is because he has amnesia. He says to Sam that he has to get rid of Gene Hunt and his officers to get back home. Does Sam believe all of this or will he stick up for them instead and stay in 1973?

    Like I said, its a very confusing episode and Sam does indeed wake up back in his time. However once he does he jumps off a tall building (suicide?) and returns back to 1973. He saves Gene and the rest of the lot from gunfire. We then hear the radio saying "We're losing him!" and then Sam just changes it to Life On Mars. Does this mean Sam is dead or is he again in another coma? Perhaps it was all a dream? Arghh! I hate plots that are confusing! I'm unfortuantly assuming he's dead. It was a very shocking ending and I wasn't expecting him to just jump off like that! Looks like he won't be returning to the future. So that's the end of Life On Mars, it was a fantastic series and I will be missing it. Lots of twists and turns and parts that were upsetting. :(
  • One of the best episodes, even though there are still some unanswered questions. It allows us to decide what really happened to Sam. Well worth watching!!! Just wish it did not have to end.

    This episode did not answer some of the questions that I wanted answers for. I still want to know what really happened to Sam Tyler and what is his real reality?

    About 45 minutes into the episode I thought I had all the answers. Sam was hit by a car, he fell into a coma, his mind created this world in the past and a surgeon was able to wake him. But that is where things started to get complicated. Sam jumps off a tall building after he has come back to the future.

    I was confused by this and thought it would be the end of the episode but it got even more confusing.

    Sam was back inside the tunnel in the past. This raised even more questions than before. Was Sam really from the past and he had amnesia or was he from the future but prefers to be in a coma in the past?

    One thing I will point out is that Sam cut himself when he was at work in the future. He could not feel any pain. This could mean that it was not real or that the past seemed more real to him that the future, even if it was not.

    Lots of questions, you decide!
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