DATELINE: See Venice & Die.
Nearly everyone associated with the program Endeavour believes that season 8 will be the end of the series’ run. If so, it is not going to end well for most of the characters, apart from Morse who goes on to another life as Morse in late middle-age (already filmed in case you missed them with Thaw as old Morse).
The hostility and break between Thursday and Endeavour seemingly irrevocable and, in a future world, likely it is fatal.
We begin and end with the overwrought opera in Venice, and its ultimate plot is revealed to us as some kind of reconciliation to the future season. The end tableaux is exactly like the opera.
Playing at Mycroft, we were one step ahead of Morse’s Sherlock, but Endeavour’s red herrings were not stand-alone. We were irked by the endless mayhem. The clues were mix and match. We won’t spoil much by telling you that you have more serial killers in an Oxfordshire towpath than on the streets of Chicago.
The tale is overwrought like opera and stretches our credulity more than any previous season. It seems Morse’s fatal flaw is not a kiss of death, but a snobby arrogance. His Oxford background puts him above the flat-footed cops he works with, and he’s told as much several times. It is his hubris that causes a serial killer to use him as a “convenient idiot, or police pet,” by the equally brilliant A-train killer.
Ryan Gage as Ludo matches Shaun Evans as Endeavour, step by pulled out stop.
Reconciliations in some season eight may be hard to swallow if they even come. It seems that all the actors have played their parts on the stage, as Ludo tells us at the climax, and that may be enough.