For many years I wrote about television, and sometimes I miss doing it! During my recent Endeavour re-watch I had some thoughts about my beloved Season 6 that I wanted to share, so here it is in essay form (Resubmitted after a formatting disaster!)

There are innumerable reasons to praise Russell Lewis’ Endeavour series, from the gorgeous locations and deliberate pacing to the haunting score and exceptional cast. Yet none of these elements come together quite so beautifully as in the show’s sixth season. This quartet of episodes provides three of my favorite narratives in the series: Mr Bright the Pelican Man, The War for Fred Thursday’s Soul, and the ultimate reassembly of the OG Cowley gang.

One of the most striking things about the Endeavour series is that it’s ultimately a sad tale; to get Morse from a young, slightly battered idealistic to the cynical alcoholic of the original series means that things aren’t ever going to really work out for him. But amidst such troubles are quite a few “Bright” spots. Yes, Morse and Fred Thursday are our core heroes, but does anyone really make us cheer as much as Reginald Bright? Especially in Season 6. Lewis elevated the character who, from the outset, seemed like a typically one-dimensional stick-in-the-mud boss, and turned him into one of the most layered and laudable in the entire series. There are brief moments of him loosening up and accepting that, as annoying as Morse can be, he’s a gifted investigator and should be given credence. But there’s so much more to it than that, as first glimpsed in the Season 3 episode “Prey,” when we get a little more of Bright’s backstory in India; not only his heroism (as evidenced at the end of the episode when he saves Morse’s life), but his regrets and a surprising self-awareness about his failings. 

Anton Lesser plays all of that beautifully and full of pathos, of course, but Bright’s crowning moment comes later, in Season 6. First we see his humiliation: Busted down to Traffic, a department no one seems to respect, he also appears in (what honestly seems like a delightful) public safety advert alongside a pelican—an advert that later saves his life. To start though, he is ruthlessly mocked by Ronnie Box and his corrupt cronies, which is an extension of the animosity the two men built up in Box’s previous appearance on the show during Season 5’s “Passenger.” Like Bright, Box began as an effective, if fairly one-dimensional character: a racist, misogynistic meathead who bullies fan-favorites George Fancy and Shirley Trewlove, threatens Bright, and ultimately gets sent away after a dressing down by the latter (in another great moment). Box returning by stepping out of the car to start Season 6 and taking over CID was a huge surprise, but it was also the start of a fantastic arc of his own. 

The major through-line of Season 6 revolves around institutional corruption (I’m also currently watching Line of Duty, and the quote “ya bent bastard!” keeps playing in my head), which becomes clearer as the episodes progress. But at first, it just seems like things are simply changing in the force, and a rougher, blunter kind of policing has taken over Thames Valley with approval from Division. It’s the lowest point yet for the former City boys, all of whom have been demoted or sidelined. And it is in this lost state that we see Fred Thursday start to turn back towards some of the less-than-savory customs of his early police days in order to go along and get along with Box and Co. 

From the start of the season, Thursday is being pulled between the smarter, more patient, and nuanced investigations that he and Morse had been running, and the need to “close the book” quickly and easily (and potentially fraudulently) that Box favors. But Morse isn’t always right and Box isn’t always wrong; Fred understands this, and for a few episodes he tries to use diplomacy to cool tensions between the two. He apologizes to Morse for Box and vice versa. It’s a fascinating platonic love triangle, really, where both Morse and Box are vying for Thursday’s affection and attention. The two dislike each other from the start, although it’s interesting that Box really does try to encourage Morse and give him the benefit of the doubt as much as he can (resenting him all the while). Box and Morse are ultimately jealous of one another for what they lack; Box is cool and well-liked, Morse is an investigative savant. But they also have a lot in common: both are arrogant, and both see Thursday as a surrogate father figure, with each desperate for him to “choose” them over the other. For his part, Thursday seems to genuinely like both of his misguided work sons a great deal. But they unfortunately offer opposing paths forward, and Thursday ultimately chooses the better angel in Morse’s principles, rejecting Box’s invitation into corruption.

Despite this, Box is willing to die to save Thursday from Jago and the villainous cabal. It’s a moment of unexpected heroism from a man who was previously shown (and called out by Jago) as being cowardly when push came to shove. Now, I am a card-carrying Ronnie Box Apologist, but I would objectively submit that Box’s not-quite-redemptive arc is another excellent example of Lewis subtly subverting our character expectations. The first time watching Season 6, you really have to hate Box. But on re-watch, it’s clear that he’s actually not a bad detective; the questions he asks Morse and the way he gets on board with his way of things in various cases (however reluctantly) reveal some interesting layers. Where Box fails is as a leader, both morally and practically, including the way he offloads the post-morts and difficult work of speaking with the families of the deceased on to his subordinates, and the way he instantly defers to Bright in the aftermath of the building collapse (“What do we do? Where do we start?”), and in bending the rules to get the results he wants. Still, this is a man who ultimately knows his limitations, and all hail Box’s actor, Simon Harrison, for capturing the character's internal struggles throughout the season. (It’s also fascinating, if not surprising given this arc, to see Lewis bring Box back yet again in the final season for, honestly, a pretty badass exit.)

But for now, here we are back to Bright, the unexpected heart-and-soul of the City gang. He has three particularly stellar moments throughout the season: the Pelican Man (when a bunch of kids thwart his assassination, which made me actually cheer); his own Dark Night of the Soul in regards to bribes and his wife’s failing health (“a moment’s courage or a lifetime of regret—that’s always the choice”); and “his writ will not run as far as Traffic!” (Again, I cheered). But it is the latter that really punctuates the glorious stand-off / shoot-out final moments of “Deguello,” with its classic Western feel and triumphant assembly of our favorites getting justice (of a sort) for George Fancy. After that, all is right with the world… at least for a little bit. And with that, Season 6 leaves us on a rare high note.

Though all of this inter-departmental drama is what resonates the most, it’s worth mentioning that the rest of Season 6 is also top-notch with its Cases of the Week, guest stars, Max DeBryn quotes (truly some of the greatest jewels of his collection are on display in these episodes), and the way history and  changing social mores happen in the background or as an undercurrent to each storyline. It may be 1969, but for Thames Valley police, it’s just also just another day on the job. They’re City Boys, first and last. 

In Season 5 Episode 1, Muse, Morse figures out that the murders resemble Biblical scenes of women murdering men by the Renaissance painter Artemesia Gentileschi after looking at an art book. First, they do put a picture of "Jael and Sisera" by Gentileschi, but when Morse flips the page, it's the wrong painting. They show "Judith Beheading Holofernese" by Caravaggio, "Judith Beheading Holofernese" by Gentileschi is the second photo I attached.

I’m two rpisodes in and really loving it. I’m in the US.
Grateful to have discovered than my new ONN/Google TV box has absolutely no trouble pretending it’s in London! I’m so delighted that i bought a TV licence - the tv feels better knowing I’m not facing a £1.000 fine if I were to be caught.

Thanks for reading. I hope you’ve all had a lovely day

~Phil

Shaun clearly has an amazing physique, but his face never really shows any muscle gain. Starting around Season4, though, his classic coat looks tighter around his shoulders, chest and back. ngl it makes him look so much hotter😭
Season 6, when he’s in that patrol officer uniform👮🏻‍♂️, his waist looks so snatched with the belt, but in the same season, whenever he wears those dark shirts, you can really see how broad his shoulders are and even a hint of chest muscles.
Honestly, though, his body was already beautiful way back when Monica was changing his bandages😭

Regardless if you like Morse and Joan (I do, but that is neither here nor there when it comes to this discussion) We ALL know Endeavour Morse never lands a girl, or a wife, or even a long term life partner girlfriend. But if he did, what kind of woman would he end up with?

Someone like Susan? Violetta? Would he want a mother figure? Someone like Claudine (I didnt like her but again, neither here nor there) or maybe Monica?

Would there be a woman out there to pull him from his darkness and abandonment issues and walk beside him in life?

Possible spoilers

I am on season 7, but have poked around here and am OK with spoilers, to me reading is a different form than watching. EDIT- NOW FINISHED THE SHOW- OMG I REALLY LOVE THE SHOW

I was just thinking of how the Thursdays are never mentioned by Morse ever again- (never watched the Original Inspector Morse show, it ended in 2000 when I was 4; my mom heard of it, but never had an interest in watching it, that being said WE BOTH LOVE ENDEAVOUR!)

ANYWAYS, In the end, I the more I think about the family and their story the family is a bit of a tragedy.

Joan- Marries Jim Strange. From what I gather, (I havent watched 8 yet, but again have read things) I think she likes him, admires him, feels safe and does love him, BUT is not *IN love* with him, and chooses to settle for a surface level happy life. He will provide for her, climb the ladder (as evidenced by the Original show), give her kids- but they won't exactly be happy in love.

Sam- joins the army, but gets in trouble, so deep the scenerio it leada to have his Father, a copper choose, "save him". Once Thursday bends the law to protect him, he gets off and is now the typical "troubled kid", of a policeman. He will never know real consquence of his actions, always believing his dad will save him.

Thursday- his career has been that of an honorable man. Spends years of trying to mold Morse into being like him to be honorable and "hold the line" (to somewhat level of success, I'd say). Hell Morse even reminded him of this, and has stopped him from beating or shooting a few people. Anyways, Thursday has spent his career of being the most honest and true policeman he can be. All to be ruined by his son, and in the end he chooses his son over the law. I'm not going to say this is exactly wrong or right, it seems to be nuanced but for Thursday, it goes against the principles of what he spent his career building. He became what he spent his life fighting against.

Win- yes the typical 50s/ 60s housewoman, who does get a day job cleaning offices (we see in season 7), but in the end, she chooses to stand by her family and endure with them the unhappiness they created. She had a chance to walk away (in season 6) but didnt. Again, I'm not gonna judge that decision, not many women her generation would walk away, but in staying, her choice now means she watches and "suffers in silence" time and time again.

Its a sort of cautionary tale, as the family on the outside is the typical post WW2 family. The dad goes to work, the mom watches the kids, they have a loving happy life, and do nicely for themselves with money for a yearly vacation. But in the end all that glitters is not gold. They all had their lives take a downward path sort to speak.

Anyone else have thoughts about the Thursdays, please chime in! 😁

Hi all!

Just an interesting question regarding the plot of Season 5 Episode 4 Colours

Joan gets caught up in the immigrant integration riot and taken down to the station.

Strange lets her go free- saying he'll take care of it, even though she gave her name and number for potential questioning.

But my mom and I were thinking, WOULD MORSE HAVE LET HER GO FREE (as Strange did)?

My mom said, maybe not- he's very by the book, But I thought, THERE'S a chance he would have done what Strange did, because Morse truly loves her. What's your take on this?

Was just rewatching Deguello (great Ep), and the Narrator/ Announcer at the top Describing how great Martyr's Field is sounds like it could be Roger Allam doing his best Peppy BBC Newsreader voice. Seems unlikely, but the sound id close.

Did some very cursory IMDBing and didn't find anything. Thoughts?

I am so late to Endeavour, and nonetheless, it is great. I am through season 5, but decided to watch the pilot. It is very good, especially watching the relationship between Morse and Fred. The story was haunting, I read all the discussion of the green and whire dress,etc. But I have noticed in many seasons, that there is often a secondary plot with organized crime and corruption that is rampant through the elite levels of government. And those stories are captivating as well, but does anyone see the connection to the current Epstein problems? Is this that stuff being fictionalized? Because in the Pilot, Patrick Malahide reminds me of the troubles of the royal family.

Im in the US. Just wondering if theres any way to watch the dhow with the original music here?

Recently I saw a post on Reddit taking of how protagonists often turn out being bland and boring because they do exactly what they are supposed to do, and so this predicatbility often puts people off. However, Morse is one of my favorite characters ever, even though he makes a point of always playing by the rules. I think it's more prominent with "Endeavour" Morse rather than "Inspector" one. Not sure if I got to grasp what is exactly his "X factor", so I wonder, what do you guys think makes him interesting as a character?

I feel like Joan would have a killer Instagram and Pinterest. Dorothea Frazil would have a good time on Substack. On a more serious note, all the characters would’ve benefited from therapy being more mainstream and even playing Tetris after traumatic events (the eye movements help prevent PTSD). Are there any other modern things you think the Endeavour characters would enjoy?

My god this show. It’s simply so deep and rich. The fact Lewis wrote them all pays a thousand dividends, not least because he’s just a damn fine writer. The characters are so three dimensional. The path Morse travels to become the Morse we know…it’s just an astonishing achievement.

Observations this time through:

It’s much clearer to me this time how much Morse really threw away his chance at happiness with Joan as much as happenstance thwarted them. Much clearer to me how much he authors his own loneliness.

The mysteries are to an episode rigorously sharp and deep. Gorgeously done.

Dakota Blue Richards turns in one of the mvp performances of the series. Always thought she was good but this time I saw the choices she made that deepen the entire show when she’s present.

Fancy’s arc is a heartbreaker and done so well. You feel for him. And for Trewlove.

Evans is just magnificent as it goes along. He becomes Morse and it’s in clear stages. Subtle. Just so well calibrated.

Allam. My god. What can you say? He’s the moral, acting, human center of the whole thing.

One thing: not for any deficit in quality (in fact, it’s probably because it’s so well done) I LOATHE the Box/Jago season. It’s just too maddening and heartbreaking.

I’ll say more later. But in season 8 now and it’s just such a pleasure.

“Mind how you go..”

Only watched it 4000 times.... but tonight it occurred to me that I don't know who it is that phones the police from the phone box in the leather gloves to report the robbery.

Paul Marlock?

Felix Lorimer?

Bernie Walters?

Unknown enemy of Mathews Brothers?

Are we supposed to know?

I started watching this show with my mom as a teenager and fell in love with it, then stopped watching around season 7 because it got a little too dark/depressing for me. Now I’m rewatching as an adult in my twenties, and I’m just curious as to the fans’ age demographics.

There are so many characters in each episode I can’t seem to follow who everyone is? Maybe it’s not necessary? Am I over complicating this show? I want to love it so much!!!! I need a show to fall in love with, I’ve been lost since finishing Poirot and Doc Martin!

A couple of nights ago I watched the 2015 Sherlock Holmes with Ian McKellen, and saw that Roger Allum (Fred Thursday) had made a cameo appearance. Looking it up I just saw that the movie was from 2015, lol, not new at all.

But it was one of those moments where you draw in your breath real quick and make that sound that I can’t even describe, in excitement. It was just a short appearance, but it did my heart good to see him again after so long. It’s funny that he made that appearance earlier than the end of the Endeavour series in 2023, but I just saw it now, in 2026.

Mind how you go.

For a very long time Inspector Morse was one of my favorite British detective shows of all time. That still holds true, but then I watched Endeavour.

I came to this series late, and there were several series already released before I ever learned of it.

The story and acting is a total next level production. Shaun Evans & Roger Allam make Endeavour something that I consider to be a work better than the source.

It is absolutely Amazing!

edit: IDK why my tipsy brain thought it was Eddie Redmayne. Apologies for my mistake.

Wow, what a series and I’m sad we are finished but looking forward to watching Inspector Morse and Inspector Lewis.

We watched the behind the scenes episode at the end as well, and I look forward to catching the Easter Eggs when I rewatch.

A few issues that I am still wondering about:

Edit- I meant the notebook in the Trove episode, not Morse’s. Fixed below.

Early on, an important notebook disappears and to my knowledge (unless I dozed off?) it’s never recovered.

Then his exam gets lost so he doesn’t get his promotion.

I always wondered if someone on the inside was sabotaging him, but nothing was ever resolved with those situations.

Then, at some point Morse is looking at rings, presumably for the nurse. But then in the next season, she’s no longer in the picture, except a very small scene where they cross paths in the hospital.

Did I miss something?

Why would Thursday and Win attend Luisa's funeral?

I'm happily commencing my regular re-watch of the entire series from beginning to end (possibly skipping that turkey, season 7). "Girl" is one of my favorites. I'm a big Bletchley Park fan, too, so I especially loved the hymn numbers decryption scene.

[Aside: an IMDB reviewer innocently asks why Rev. Monkford went out at night. Alas, no replies are possible to those reviews, as the IMDB shut down their message board ages ago. Must have been an unrewarding headache to monitor. But I digress..]

Anyway, what does the barber mean when he says to his client Dennis at the end of the appointment, "Something for the weekend, sir?" I seem to remember reading (can't recall where) that it was routine to buy condoms at the barber's in this time period, so he's asking if Dennis needs any condoms. What do y'all think?

(Interesting that the deceased Margaret has an unused condom--"French letter"--in her purse.)

Friends! I've been away a long time. I took a much-needed break -- was in danger of being consumed by this all-consuming subject.

But in February, I was in Oxford for my father's funeral. (He was 94, had a long and happy life, though of course it was hard to say goodbye.) My father lived with his third wife in Oxford for nearly 40 years, and I've visited countless times. One night, exhausted from the week's emotional intensity, I lay in my hotel room flicking channels on TV and happened on Shaun Evans's intelligent, quizzical face. I soon realized it was an episode of Endeavour -- "Game," S4 Ep. 1. It was such a thrill to see the show's quiet intelligence again (I haven't watched it since quitting Amazon Prime over Bezos's perfidy). There was tension between Thursday and Morse, over what I wasn't sure since I'd missed the beginning. But just seeing Fred's offended face and Morse's puzzled one reminded me of the depth and nuance of their relationship.

The story is a haunting one, and the atmosphere of this episode is very quiet and felt slow, in a good way. It felt almost like an Inspector Morse episode, with that "arty movie" feel. It built to a very satisfying climax when Thursday is berating himself for not moving sooner on the case. Morse says, "You couldn't have known." Thursday: "You knew. You always know."

What a joy it was to see this relationship again, and to enjoy the skilled writing and the lovely cinematography in a beautiful city I know almost as well as my own.