Endeavour (2012– )
10 user


Endeavour is charged with protecting Joy Pettybon, self-appointed guardian of the nation's morals, who is visiting Oxford to promote her 'Keep Britain Decent' campaign.


Michael Lennox


Colin Dexter (characters), Russell Lewis (written and devised by)




Episode cast overview, first billed only:
Sharlette Henry Sharlette Henry ... Mimi
Paul Bown Paul Bown ... Rev. Mervyn Golightly
Sylvestra Le Touzel ... Mrs. Joy Pettybon
Phil Rowson ... Steve Carter
Sophie Simnett ... Pippa Leyton
Ella Hunt ... Emma Carr
Michael Fox ... Ken Wilding
Jonathan Barnwell ... Christopher Clark
Dario Coates ... Lee 'Stix' Noble
Will Payne ... Nick Wilding
William Ilkley William Ilkley ... Norris Randall
Pearl Chanda ... Bettina Pettybon
Sagar Arya ... Dr. Bakshi (as Sagar I M Arya)
Matthew Needham ... Dudley Jessop
Shaun Evans ... DC Endeavour Morse


When moral crusader Joy Pettybon arrives in Oxford she receives a death threat and Morse is assigned to protect her, as well as investigating the death of young brick-layer Brian Finch, who had been working at a mansion rented by argumentative pop group the Wildwood. Morse is present when Joy and troubled lead singer Nick Wilding go head to head on a live chat show, after which gay magazine editor Dudley Jessop, an opponent of Pettybon, is badly beaten by her supporters and her repressed daughter Bettina admits to Morse her love for him and hatred of her mother. Then a vicar, Mrs Pettybon's co-activist, is poisoned with chocolates seemingly intended for her. A shameful secret from the Pettybons' past, triggering Joy's crusade, is unearthed, as is a more recent one regarding Nick's sexuality. This proves instrumental in cracking the case, despite the killer's attempts to sabotage Morse with a cocktail of hallucinogenic drugs. Written by don @ minifie-1

Plot Summary | Add Synopsis


Crime | Drama | Mystery


TV-14 | See all certifications »






Release Date:

27 August 2017 (USA) See more »

Company Credits

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Did You Know?


The book from which Pippa reads aloud at several points in this story is "Justine", by the Marquis de Sade, an eighteenth-century novel (subtitled "The Misfortunes Of Virtue") which was banned in Britain for more than a century and a half, and which had appeared in its first-ever English translation only a short time before this episode takes place. See more »


Morse says "you'll have no objection to us examining your car". As a stickler for grammar, he would have said "our examining your car". See more »


WPC Shirley Trewlove: [finding Morse studying books and records concerning the Wildwood] What's all this? Are you joining the in-crowd?
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Crazy Credits

The red letters in the credits spell "Goldhawk Road." This was mentioned in a conversation among the band members:

"You might've forgotten where you come from, but us lot haven't.
  • Take the boy out the Goldhawk Road? - Yeah, that's right.
All right, he didn't mean it. You keep your Baudelaire and I'll stick to Bo Diddley, all right? I'm going outside for a fag." See more »


References Sebastian (1968) See more »


Main Theme
Main Theme by Barrington Pheloung
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Frequently Asked Questions

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User Reviews

Not quite as good as "Game", still very good
7 July 2017 | by TheLittleSongbirdSee all my reviews

Having recently been, and just finished being, on a roll reviewing all the episodes of 'Lewis', which generally was very enjoyable before having some disappointments later on, it occurred to me to do the same for 'Inspector Morse's' (one of my favourites for over a decade, and all the episodes were also reviewed in my first year on IMDb eight years ago) prequel series 'Endeavour'.

As said in my review for the entire show two years ago, 'Endeavour' is not just a more than worthy prequel series to one of my favourite detective dramas of all time and goes very well with it, but it is a great series on its own as well. It maintains everything that makes 'Inspector Morse' so good, while also containing enough to make it its own, and in my mind 'Inspector Morse', 'Lewis' and 'Endeavour' go perfectly well together.

Was very impressed by the pilot episode, even with a very understandable slight finding-its-feet feel (that is true of a lot of shows, exceptions like 'Morse' itself, 'A Touch of Frost' and 'Midsomer Murders', which started off great and were remarkably well established, are fairly few. The first season was even better, with all the episodes being outstanding. Season 2 took a darker turn, but once again all the episodes were great (even with "Trove" having one of 'Endeavour's' most far-fetched and over-complicated endings, great episode otherwise), with the weakest one "Sway" still being very good, "Neverland" especially was exceptional and a show high-point.

Season 3 is considered by fans as nowhere near as good as previously. Will admit that it is not as good as Seasons 1 and 2, which had more believable stories and didn't try to do too much but count me in as someone who has still enjoyed the episodes and has found a lot to like, while finding "Coda" outstanding.

"Game" was such a terrific start for Season 4. "Canticle" is very good, if not quite as good. It is a different kind of 'Endeavour' episode with vivid brighter colours, more emphasis on the atmosphere/value/culture of the 60s and where the mystery isn't focused on quite as much. Some 'Endeavour' fans may find this different kind of 'Endeavour' too far removed from what they associate the show with, and others will appreciate a change of pace once in a while. Count me as one of the latter.

My only real complaint with "Canticle" actually is the ending, which to my liking was on the rushed and melodramatic side.

Conversely, there is nothing that can be faulted with the production values. It is exquisitely filmed, and it was hard not to love the vivid bright colours, a nice change from the more haunting ones and fitted the tone of the episode and the period itself perfectly. There is something very nostalgic and charming about the atmospherically evoked 1960s period detail. The music is also different in style and tone, less classical-oriented and more 60s-pop-esque, which worked within the episode and didn't fare too badly on its own either.

Writing, as has been said many times in my reviews for the previous 'Endeavour' episodes, is every bit as intelligent, entertaining and tense as the previous episodes and as the best of 'Morse', with some funny lines from Max and the quiet affectingly profound moment between Thursday and Bright.

"Canticle's" story was intriguing, especially in the big themes/topics it tackled and how tactfully it was done. The mystery isn't quite as memorable, and parts are a little more predictable than usual (like Sylvestra Le Trouzel's character, that just about avoided being a caricature), but it was also mostly fun and maintained attention throughout.

Morse and Thursday's father/son relationship, has grown more entertaining and heartfelt with each episode, it has a lot of warmth, is so well written within the story and is a large part of the series' appeal. The pacing is restrained, but that allows the atmosphere to come through, and pretty much all the same it excels in that aspect. The characters are interesting, lead and supporting.

Shaun Evans as ever does some powerful, charismatic work as younger Morse, showing enough loyalty to John Thaw's iconic Morse while making the character his own too. Roger Allam is also superb, his rapport with Evans always compels and entertains but Thursday is quite a sympathetic character, as well as loyal and firm, and Allam does a lot special with a role that could have been less interesting possibly in lesser hands. Sylvestra Le Trouzel is excellent as a character one loves to hate.

In conclusion, a very good different episode. 8/10 Bethany Cox

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