Marcus tracks down a clue indicating that Matthew and Diana made it back to the sixteenth century, makes a new friend and wrestles with his responsibilities as Grand Master of the Knights of Lazarus.

A fairly Marcus-centric episode this, as well as one that takes place entirely in the present day. The portraits Matthew and Diana commissioned of themselves in the past serve as an important clue to their friends (and enemies) in the present. Marcus tracks them down to an auction house and goes to try to secure them, only to find himself rather taken with a young lady who works there. Can he be sensible, or is he about to be the reckless young man he always seems to be all over again?

At the same time, he’s struggling with the weight of responsibility placed on him by Matthew as Grand Master of the Knights of Lazarus. The organisation was once a beacon of hope and one that fought for justice and what is right, but is Marcus up to the task if leading them, and what role do they currently have in a world that is full of injustice and horror? Baldwin wants control of the Knights for himself, but is Matthew’s ‘brother’ to be trusted?

This all takes place against the backdrop of the murders continuing in Oxford, with Domenico following the trail, desperate to get the leverage he needs to get an advantage over Gerbert. Gerbert himself is not idle either, confronting Ysabeau and attempting to threaten/persuade her to join forces with him in return for his ‘protection’.

It’s not an episode in which an awful lot happens, per se, but it’s a fascinating watch nonetheless. Marcus really hasn’t had an awful lot to do in this season to date, and seeing him finally begin to reckon with the weight of his responsibility, as well as discover a few home truths about himself and his family, and make a new connection in the world, is well worth the price of admission.

Equally fun is watching the scheming between Gerbert and Domenico, the exploration of other avenues of assistance by Diana’s aunt Em and new character Phoebe’s own perceptiveness that might cause issues for Marcus if he isn’t too careful. Eschewing any scenes in the sixteenth century, it feels very much like necessary plot advancement done in the most fun way.

Verdict: Relatively action-light but filled with such delightful character work that you won’t care. 9/10

Greg D. Smith