Oracle

A new decade, familiar crime. It's 1970 and the body of barmaid Molly Andrews is discovered strangled after the New year's celebrations.

Slightly more atmospheric than previous episodes, this had a very different feel, one I particularly liked. A cracking episode, an interesting dynamic, a case where Morse is missing at the very start, and arrives late to the party.

Glorious production values as we've come to expect over the years, the beginning in particular, fabulous, very cinematic, finally we see Morse lost in the magic of an opera. I am delighted to see that his moustache has gone, Evans outstanding as always. I thought Richard Harrington was also great as Dr Ferman.

The recent news that Series eight would be the last was devastating, but like all good things, it must end, for now though, he's back, and if this is anything to go by, we're in for another great Series. 9/10

When a young woman dies, pushed off a footbridge on New Year's Eve, Thursday is called to investigate. Morse has been on holiday in Venice where he has had a tryst with a sultry Italian woman. Our attention moves back and forth from the investigation to a research lab, dealing with ESP and other paranormal sciences. The men who run the lab are sexist and an attractive young graduate student receives the brunt of their chauvinism. Thursday continues expressing his pain from the work he does--dead and mutilated bodies and the worst of humanity. For some time, he has seen Morse as a threat to his position in the police, even though they are partners. Other than being a bit slow moving at times, this is an excellent offering of this series.

We thoroughly enjoyed last nights episode of Endevour ,the story line was as good as ever .Just one criticism the incidental music was very off putting ,perhaps tone it down a bit ,we stopped watching Lewis for the same reason ,it spoils an otherwise compelling experience

I've always been 100% impressed by the brilliant directing/acting of Shaun Evans and brilliant acting of Roger Allam and the exemplary acting of ALL the actors in all the Endeavour Series, but for me, the episode ORACLE of 9/821 just raised the bar another 100 miles !

I was in tears for Anton Lesser losing such a beautiful & dedicated wife, which surprised me as he always "annoys me" with the condescending way he talks to Morse and Thursday.

The plot and storyline to Oracle is 100/100.

Cudos and congratulations to Writer and Playwright and ALL involved, in the most touching episode I've seen yet.

Signed Bernie Valentini, Melbourne , Australia.

Ever since 'Endeavour' first started, it struck me as a great series on its own and a worthy prequel series to one of my all-time favourites 'Inspector Morse'. It goes very well with that and with 'Lewis'. Seasons 1-3 was the period when 'Endeavour' was at its best, with all the episodes to me being very good to brilliant. Seasons 4 and 5 weren't as consistent and am aware that a few are divisive, but again high standard and for me none of the episodes were bad. Season 6 was solid if a little disappointing too, the only outstanding episode being "Deguello".

Season 7 starts off very well with "Oracle", which introduces a new decade for 'Endeavour' and signals the beginning of a new era. An era where it is clear that times have changed and also so have the characters and people. "Oracle" from personal view is not one of the best episodes of the series, but it is a more than worthy season opener in almost every day, the changed time period showing a good deal of promise and it was great to see star Shaun Evans back in the director's chair.

"Oracle" for one thing looks fantastic. All of 'Endeavour's' episodes are superbly made, so expectations were admittedly high on that front, and "Oracle" managed to be one of the best-looking episodes. It is exquisitely filmed throughout, with the first 10-15 minutes being enough to make one go wow, and the time period is brought to life quite vividly and handsomely in the locations/settings and costumes. The spectacularly vivid colour in the Venetian scenes contrast beautifully with a bleaker-looking Oxford.

The music is very atmospheric and fits beautifully, feeling at times like its own character without being too melodramatic. Also did not question any of the music placements or choices of music luckily, which was something that distracted me sometimes in Season 6, the wonderfully operatic beginning being the standout. This is Evans' second 'Endeavour' episode as director, after Season 6's "Apollo" (which was from a directing standpoint remarkably good), and he shows even more confidence here. Evident in the use of camera work and locations and how any tone shifts are cohesive and flow.

Further benefits are an intelligently written and always intriguing script, that particularly excels in the interesting character dynamics (that between Morse and Thursday being more terse), and a compelling mystery that didn't to me suffer from incoherence or over-obviousness. One that also had a lot of atmosphere, with a suspenseful opening murder and the supernatural horror aspect being both frightening and affectionate. The characters are well written and one doesn't feel frustrated at how things have changed with them as they move into a new era. The character development for Thursday is striking in particular, here more brittle and weary than before, and it is hard to not feel for Bright (his development was one of the high points of the previous season). The rest of the characters are a colourful lot, though with a few exceptions consisting of a nest of vipers. The biggest viper of all being the openly misogynistic Ferman, which may make some feel uncomfortable (myself included) but it very much existed back then in academia and still is now sadly.

Can't fault the performances, with Evans as committed and charismatic as ever and Anton Lesser has some affecting moments. Richard Harrington is easily hissable as Ferman without being too cartoonish. Roger Allam, a big part as to why 'Endeavour' works as well as it does, stood out most to me though, capturing Thursday's weariness and frustration beautifully whether when saying something or unspoken.

If there was anything that didn't quite work for me, it was the denouement which may have been surprising but for me was also somewhat perfunctory and needed more time to properly feel explored. And the big reveal at the garden party strains credulity, again a shock but it is a "what the heck" and out of left field moment. At least the very end grabs the attention and makes one eager to see how the next episode carries out.

On the whole, a more than promising start to the new season and highly recommended. 8/10