#endeavour: zenana

[too-antigonish]

The Great S7 Rewrite: 7 July 2024 Update...

Posted this yesterday as a reblog update to the Great S7 Rewrite but now posting separately...

Here's a summary of where we are in the Great S7 Rewrite and some ideas moving forward:

Bone of Contention #1: Opera Rules

@astridcontramundum is in favor of keeping Opera Rules (voiceovers, framing scenes, etc.) as well as featuring more of the bespoke opera written for S7. I love her suggestion that Morse and Violetta have their own leitmotif! 

@oeuvrinarydurian suggested the possibility of leaning into Opera Rules—going a little crazy with tropes and techniques and being fanciful. 

I *love* the idea of leaning into Opera Rules and it’s actually what I’ve thought R.L. should have done all along. Now though, when I think of doing it within the context of the existing storylines we’re working with, I run into difficulties imagining it. The stories don’t fit into a “playful” world. That may simply be my own limitations. I’d love to see it done somewhere, sometime—especially somewhat whimsically and especially in the Morse universe.

One possibility I’ve considered is still having Opera Rules (voiceovers, framing scenes, etc. as well as opera tropes and themes), but actually taking them seriously instead of making them OTT. I’m heavily paraphrasing, but Astrid, in one of her stories has Bix say something like, “Real life isn’t like one of your operas,” to Morse. And it’s always struck me that for Morse, his real life *is* like one of his operas. His childhood? Being essentially orphaned. Evil stepmothers. Oxford? Almost marrying the princess so to speak. Being cast aside and cast out. What he sees at his job? Murder. Betrayal. Greed. Jealousy. Grief.

Basically, instead of making Morse’s life suddenly work according to Opera Rules, you could show how Morse has been living an opera all along by suddenly making all of the parallels visible.

Another thought that builds on Astrid’s idea about both Opera Rules and her later thoughts on the Towpath Case is to center the story on the opera that Morse attends at the beginning, "La Sposa del Demonio" (or "La Cura Per L'amore").  What if the story of that opera is reflected in the story arc of the Morse, Ludo, Violetta—whatever that ends up being? 

Bone of Contention #2: Ludo and Violetta?

Astrid likes the idea of having Violetta genuinely in love with Morse. 

@librawritesstuff brings up Violetta as “Unattainable Fantasy Woman” and points out that part of Morse’s attraction to her can be explained by the fact that by the end of S6, he’s been screwed over in just about every way possible. He’s ready to just say fuck it and go after something just because it’s there and he wants it for a change.

She then points out that the bigger problem with Ludo and Violetta lies in the implausibility of their storyline. What was the plan with Morse? Was there a plan? What’s the deal with the “pet policeman”?

Durian: Hates Ludo and Violetta as characters, but her big issue is with lack of logic in the whole opera storyline and too many implausibilities. Did Morse and Violetta meet at the opera by chance or design? Did Ludo know about them the whole time? What was the “pet policeman” about? Was Violetta actually involved in the nuts and bolts of engineering the accidents?

@fanficrocks Looks at making Morse’s relationship with Ludo more believable: less OTT as a character, maybe journalist friend of Dorothea, this gives a believable reason for him to be in all of the towns where the accidents happen and believable way for Morse to trace the accidents to him. Suggests possibly lose “pet policeman” concept and just have Ludo and Morse friendship poisoned by affair

Astrid again: Loves idea of Ludo as journalist; She notes with Violetta: Morse attaching to her out of recklessness seems reasonable but they didn’t make her attachment to him believable in any way. Also, while there was a reconciliation at the end of S6, Morse would have still been carrying resentment about having been pushed aside

I love the idea of Ludo as a journalist. I’m also intrigued by the possibility that he could be a music journalist. This would provide a plausible explanation for so many things—Dorothea introducing him to Morse, Morse actually wanting to become friends, his frequent travels, etc. 

It also gives me an idea re: the big opera La Sposa. What if it were a newly discovered opera? Morse goes to Venice for the premier. Ludo is there covering the premier but for some reason does not attend with Violetta. The plot of this opera could somehow also form a backdrop for the overall Morse, Ludo, Violetta story arc (story within a story).

I completely agree with Libra about the “Unattainable Fantasy Woman” thing for the initial two week affair. Where that starts to break down for me is with the extended affair and her cooking meals for them in their love nest at Beirut dancer’s apartment. There just seems to be no basis for their connection besides sex. Certainly not enough that he would be expecting her to leave Ludo and start a life together.

If we keep Ludo and Violetta as characters, which seems to be the way things are leaning, I do think they both more or less need personality transplants to justify Morse’s continued interest in them. I’m also with Astrid on having Violetta genuinely in love with Morse. I think they left it ambiguous in the show because they were playing on the whole idea of “If it's beautiful, does it matter if it’s real?” (“treason of images” ) thing, but it never really worked.

As for the overall implausibility of overall opera storyline: Yes!!!! It’s a mess. Every point raised by Libra and Durian is valid. Whatever happens with the storyline, those holes need fixing!

Bone of Contention #3: Towpath Storyline

Astrid: Universe within universe for towpath killings. Make it opera related. Gives more scope for Thursday/Morse conflict. Deranged fan? Thwarted performer? Also, while there was a reconciliation at the end of S6, Morse would have still been carrying resentment about having been pushed aside.

Durian: Eliminate clutter in Towpath mystery: get down to “is it or is it not Carl?” Leaves room to carefully craft the conflict between Morse and Thursday

I definitely agree that the clutter in the Towpath mystery needs to be eliminated. There was no clear throughline and the story pulled in too many directions. The specifics, though, depend on a lot of other decisions that need to be made first.

The conflict between Morse and Thursday definitely needs to be more carefully established. How do we get from the seeming reconciliation of Degüello to sniping at each other in Oracle? I completely agree with Astrid that Morse would have still been carrying resentment, but there needs to be something more to explain how it would erupt in such a public and painful manner.

Bone of Contention #4: The Episodic Storylines

Astrid: “I’d definitely keep those gay wrestlers!  I might feature them more! They could be another nod to it all. Thursday said wrestling was a lot like opera. Heroes and Villains. Faces and Heels.”

I love this comment! And I loved the gay wrestlers. They were just so unexpected and their presence was so understated in a way that I found hilarious. 

But it also gets at one of the themes of S7 that I did actually find interesting: How chance puts us on one side or the other, makes us winners or losers in the great game. Raga is the most blatant about it with politics, immigration, race, gambling, etc. but also with the Faces and the Heels in wrestling or the fate of  the firstborn son vs. the second born.

Ludo sums it up—while also perhaps referring to his crimes—by saying to Morse, “Life, death, rich, poor. It's all a roll of the dice, Morse. There's no reason to any of it. You're not responsible. Some people are just unlucky.” It's eerily reminiscent of Charlie and Conrad Greel in Ride.

OK, I think that's it for now. Please let me know if I misrepresented your comments in any way or missed something that was said! I assure you it was accidental.

[mindhowyougo]

wait so was Ludo not lying, he was at Oxford with Morse? this storyline is even more unimaginative than I thought??

[morsesnotes]

Endeavour Morse + crouching

[morse-perez-and-davenport]

Shaun Evans filming Endeavour S7F3 Zenana, October 28th 2019, Radcliffe square Oxford

© endeavourneverland

[patrice-bergerons]

When do you start at Kidlington?

The New Year, 4th of Jan.  Like you said, it’s for the best.

[esriteiatha]

I rewatched Zenana :D

[mossiestpiglet]

morse and thursday perfecting the messy breakup you’re doing amazing babes

[hurricane-eva]

Thursday: you're off the towpath case

Morse: k

Narrator: Morse was not, in fact, off the towpath case

[sircolinmorgan]

i finally got round to watching the last episode of Inspector Morse, i have watched quite a few episodes in the last year but i've never really managed to get into it, i think i'm just too attached to Endeavour.

anyway, my point is that i'm just very emotional about Morse and Jim Strange. they had a friendship (albeit a complicated one) that lasted for 30+ years! jim was there when morse died and had his back right until the end! morse was always a terrible friend, he lets jim down at important moments and he never fully trusted him (with good reasons at times - the masons being one of them) and yet jim is always there even when morse is pushing him away. Jim has no idea about Morse's feelings for Joan, he just wants his best mate by his side when he gets married.

jim gives morse a place to live, is the only one listening to morse in Zenana with his unexplained deaths theory (and gets himself stabbed in the process), gets him back in CID in s6, needs his help investigating george's death and doesn't give up even though morse doesn't want to know, and in IM he's still there picking up the pieces wherever morse goes.

What i think is interesting is that Jim was brought up by his grandma, i don't think it's ever said what happened to his parents or if he had any siblings. His grandma doesn't seem like a warm and friendly person, did Strange have a lonely childhood too? Does he recognise that loneliness in Morse? i think the pair of them are more alike than morse would care to admit.

[freckleslikestars]

Endeavour

1.02 Fugue | 7.03 Zenana

[too-antigonish]

The Great S7 Rewrite

An attempt at summarizing the rocky ground on which we some of us stand following this rather epic post yesterday: Prophetic words from Morse in Oracle?

People had so many interesting things to say that I though it would be nice to keep this discussion public for now.

On the most basic level, Season 7 has two overarching storylines: 

Opera Storyline: The one with Morse, Violetta, Ludo,  and the mysterious accidental deaths

Towpath Murders: The one with Morse and Thursday fighting mainly over whether or not Carl Sturgis did it.

Then you have the episodic murders for each episode: 

Oracle: The math TV program, Dept. of Latent Potential, women’s lib conference, and  misogynist professors in Oracle

Raga: The Indian restaurant, restaurant critic, gay wrestlers, racist poker game organizing politicians in Raga

Zenana: The coming together of the opera storyline and the towpath murder storyline in Zenana.

If, theoretically, you wanted a do-over for S7, what would you need to consider? Below are some of the issues raised in discussion yesterday:

Bone of Contention #1: Opera Rules

S7 may or may not have been asking us to view its world according to “opera rules.” If it wasn’t, then the storylines were just outrageous. If it was, then they didn’t do an adequate job of either:

Signaling that we needed to see this world through that filter

Making the story robust enough that you didn’t *need* to see the opera references to “get” the storylines. (As Durian pointed out: Ride works even if you don’t realize that it’s Gatsby, but S7 doesn’t work if you don’t realize it’s opera. It doesn’t stand on its own.)

I think actual S7 tried to signal that we were in Opera World (#1) by: 

Using theatrical techniques (voiceovers, mise en scene/ tableaux, etc.) to signal that we were in opera world (i.e. heightened reality)

Using opera tropes

Using role reversal with the characters. I think that’s a big reason why the season feels so unsettling overall. Normally Morse is the one doggedly pursuing a hunch based on an obscure clue. This time it’s Thursday. Normally it is Thursday finding out that Morse didn’t check someone’s alibi. This time it’s Morse. Normally Morse and Thursday are calling the shots at the crime scene. This time DeBryn and Strange are having to put them in their place like squabbling children. Etc., etc.

Things in the show are “out of place” as well. (e.g. Thursday is at the early morning crime scene in Oracle instead of Morse. Morse is in Venice instead of Oxford.)

So the questions about Opera Rules are:

Do you keep the idea of Opera Rules for S7?

If you keep Opera Rules, how do you do a better job of signaling them?

If you keep Opera Rules, how do you make the story strong enough that people who don’t understand opera rules will know what’s happening? 

Do you just out-and-out tell people about Opera Rules?

Bone of Contention #2: Ludo and Violetta?

I have yet to hear from anyone who really likes Ludo and Violetta. If someone reading this does, I’d be fascinated to hear why. To say that I find them off-putting is being kind. Why is Morse attracted to two such unpleasant people? And not only attracted, but taken in by both of them? Normally Morse is attracted to girl-next-door types (Monica, Joan). Normally Morse has no time for snobs who name-drop and talk about themselves non-stop (Oxford Don stereotype). 

For me the disconnect lies not in the fact that he could be taken in. I think Astrid and Fanfic are very right about both Morse’s lack of wisdom when it comes to friendship and love, and well as his “secret” desire to have friends who perhaps share more of his interests. The leap I can’t make is that it would happen with these two specific people. Even taking into account that Morse is behaving “the opposite” of his usual way, I can’t see him being attracted to either of these two personalities. 

In the end, like Astrid, I like the *idea* of the Ludo and Violetta storyline but found the way it was played out too incongruous. So what to do? It seems like you can either retool Ludo and Violetta or replace them entirely. Which you choose I think depends on how you want to remake the story and how loyal you are to canon.

My first instinct is to replace them. I find both of them so repugnant, but I do find myself returning repeatedly to an idea that I had when I first watched Oracle, which was that Violetta might actually be more directly based on the Violetta from La Traviata.

She would be a woman from the “other side of the tracks” so-to-speak, but genuinely in love with Morse. You could also use Traviata’s bit where Violetta’s “betrayal” of Alfredo is actually self-sacrifice, etc. I’m not sure about Ludo, but it would definitely need to be someone that Morse would *actually* want to befriend and not someone as obvious as Ludo.

So the questions about Ludo and Violetta are:

Do you keep Ludo and Violetta?

If you keep them, how do you retool them? 

If you throw them out, what do you replace them with? 

Either way (new or retooled), how do you make Morse’s attraction to them believable?

Either way (new or retooled), do you use existing opera tropes/storylines as a basis for their story?

Bone of Contention #3: Towpath Storyline

It seems that there is pretty much universal agreement on keeping the Towpath Murders as a storyline. Also, there is pretty much unanimous approval for the idea of an earlier and more prominent role for Dorothea in the case. Durian points out that this could also have the side effect of reducing some of the tension between Morse and Thursday. 

Disagreement arises over two main elements:

Too many things going on in the storyline

How the conflict between Thursday and Morse is handled.

I’m in agreement on both of these things. In terms of the number of things going on in the storyline you have the whole is it or isn’t it a serial killer, the ESP angle, the flasher thing, the copycat killer, all of the animal imagery and later wolf imagery, the blood drinking, and much, much more. It could work if it all tied together coherently, but it doesn’t—at least for me. It feels like I can sort of see what they were going for, but that they definitely didn’t get there. There needs to be a unifying theme.

With the conflict between Thursday and Morse, my problem is not so much that they have the conflict, but that it comes seemingly out of nowhere. We jump from the reconciliation of Degüello to the petty arguments of Oracle with nothing in-between to explain the change. It’s not that I didn’t find the conflict between these two characters interesting or believable. It’s simply that there was nothing to explain it. Yes, you can say that Morse was becoming more of his own man, but that doesn’t seem adequate to me.

So the questions about the Towpath Storyline are: 

What elements would you throw out and what would you keep?

What would make a good unifying theme for the Towpath case?

What is the source of the conflict between Morse and Thursday? What sets it off?

How do we have Ms. Frazil on the case sooner rather than later?

How does Dorothea diminish tension between Thursday and Morse. 

Of the arguments between Morse and Thursday, what would you keep and what would you throw out?

Bone of Contention #3: The Episodic Storylines

I find it pretty telling that except for one brief mention, no one has strong feelings about the episodic mystery in Oracle. It definitely had less substance that the one in Raga, in part because it had to leave room for the establishment of the two big overarching stories. Personally, I found the sexism angle (the Women’s Lib Conference and Prof. Blish beating out the others for the spot on the tv show) more compelling than the ESP studies angle.

Durian mentioned that Raga, like the Towpath Murders, has way too much going on (Indian restaurant, Oberon Prince and his ex-wife, the gay wrestlers, the racist poker game, the return of the evil beautician, two stabbed teenagers, etc.) Fanfic raised the interesting idea of making the conflict in Raga more of a family conflict, using the political situation with East and West Pakistan (Bangladesh) as a focus.

So the questions about the Episodic Storylines are: 

What elements would you throw out of Oracle and what would you keep?

What elements of Oracle would you change entirely?

What elements would you throw out of Raga and what would you keep?

What elements of Raga would you change entirely? (e.g. changing to internal family conflict)

OK. I'd love to hear thoughts on all of this!

[h-l-vlovesvintage]

My personal ranking of Endeavour with no explanation. Plus favorite episode from said series. This is purely my opinion.

1. Series 3 (episode 3 "Prey")

2. Series 8 (episode 2 "Scherzo")

3. Series 4 (episode 2 "Canticle")

4. Series 6 (episode 4 "Deguello")

5. Series 5 (episode 5 "Quartet", )

6. Series 9 (episode 2 "Uniform")

7. Series 2 (episode 4 "Neverland")

8. Series 1 (episode 2 "Fugue")

9. Series 7 (episode 3 "Zenana")

[konstantintreplev]

morse sending his big damn letter to joan in 'zenana' fully wanting it to being passed on to thursday, but also like he can kill two birds with one stone by how he signs off with the 'please believe me to be yours, always...'

buddy. buddy. you can't fuck joan and her father. gotta pick. like. did joan and thursday chat about the letter post-zenana? did thursday not remember said letter in time for his daughter choosing the other copper?

or were they both like... god he's a melodramatic little sod, isn't he (joan-thursday significant daughter-father look and this is endeavour so they don't start laughing, but in the sitcom version of endeavour that exists in my head they can't stop laughing)

[morse-perez-and-davenport]

Shaun Evans filming Endeavour S7F2 zenana, Oct 28th 2019, Radcliffe square Oxford

© endeavourneverland

[patrice-bergerons]

Dear Miss Thursday,

Contained herein are materials that I ask you bring to the attention of your father.  All he needs to understand is here enclosed.  To my lasting regret, we parted on poor terms. 

The fault was mine entirely. 

He has ever been the best and wisest of men and a better friend to me than I could have wished for or deserved.  I let him down.  I am sorry to presume upon you but I’ve burnt all my bridges and you are the last and only person I can think of who might extend to me the benefit of the doubt. 

Please forgive my brevity, I have to make the boat train to Venice.  There’s never the time to say all that one would wish.  As you will no doubt hear, I have made an appalling mess of things.  Much of it I can’t put right, but I should have failed even further were I not to try to retrieve what I can from a situation wholly of my own making. 

Should I fall short and things end badly, please believe me to have been yours, always. 

Morse

[dream-this-nightmare-over]

Explanation of Endeavour episodes' titles

i have come to notice many episodes were named with peculiar titles alluring to episode theme with undertone of dark academia symbolism, drawing words from mythology, music, art, culture, which adds to sense of elevated academia mannerism of whole narrative and setting.

I will not be commenting on how the name fits the story, for i do not wish to spoil anyone anything.

Fellow endeavour fans, feel free to add any other peculiar observation.

Season 1

ep.2. Fugue - In music, a fugue is a contrapuntal compositional technique in more than two voices, built on a subject that is introduced at the beginning in imitation and which recurs frequently in the course of the composition. (wikipedia)

-a musical composition in which one or two themes are repeated or imitated by successively entering voices and contrapuntally  developed in a continuous interweaving of the voice parts. (merriam webster)

*i think that is that choir singing that builds up and always plays in background throughout the series

Season 2

ep.2. Nocturne -  work of art dealing with evening or night especially : a dreamy pensive composition for the piano

Season 3

ep.4. Coda - a concluding part of a literary or dramatic work; serves as conclusion to events that need to be rounded out.

Season 4

ep.2. Canticle - a hymn or chant, body of text in bible or in Divine Comedy or other work that rhymes and it is one distinguished part of work; like chapter in book, but it rhymes.

ep.3. Lazaretto - quarantine for those with contagious illness;  A lazaretto is a quarantine station for maritime travelers (from east that came to Venice mostly hence Lazaretto Island) Historically, lazarettos were used to control outbreaks of cholera and plague found on board visiting ships.

Season 5

ep.6. Icarus - boy who flew too high to sun so his wings made of wax melted and he fell into ocean and died. his father who made him wings to escape from minotaur's labyrinth, but boy ignored the warning striving for higher

Season 6

ep4. Degüello - spanish battle music, song that conveys hate and complete destruction of enemy without mercy, it also marks bringing an end to struggle that has been threatening to upend the familiar and safe, the return to normal

Season 7

ep2. Raga - traditional indian music

ep.3. Zenana -in muslim and hindu homes part of a house for the seclusion of women

Season 8

ep.2. Scherzo - in music composition type; short, lively piece of classical music which is usually part of a longer piece of music

-in british English it also means a joke, a prank (idk if this is true)

ep.3. Terminus (lat.) - the end of a railway or other transport route, or a station at such a point; a terminal.

-an extreme point of something

-a final goal : a finishing point

Season 9

ep3. Exeunt (lat.) - instruction written in a play indicating that a group of actors leave the stage