ENDEAVOUR: S7E3. ‘Zenana’; Review + Locations, Literary References, Music etc. SPOILERS.

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SPOILERS AHEAD!

Where’s Colin?

REALLY? This is the reference to Colin?

The references to Colin get smaller and smaller and more pathetic. I’m assuming the misspelling of ‘recieves’ is intentional. This really saddens me the way the programme makers are showing less and less respect to Colin.

Hello everyone, I hope you are all well. Harry on Twitter believes this portrait on the wall is Colin. Now I did see this but I don’t think it is and that’s why I never mentioned it in my post about the episode, Zenana. However, I will let you good people decide. It’s about 40 seconds into the episode.

Directed by Kate Saxon . No other connection to the Morse Universe.

Written by Colin Dexter (characters), Russell Lewis (written and devised by). Russell has written all the Endeavour episodes. He also wrote;

Lewis (TV Series) (screenplay – 4 episodes, 2010 – 2012) (story – 1 episode, 2006)
– Fearful Symmetry (2012) … (screenplay)
– Old, Unhappy, Far Off Things (2011) … (screenplay)
– Falling Darkness (2010) … (screenplay)
– The Dead of Winter (2010) … (screenplay)
– Reputation (2006) … (story)

He also wrote the Morse episode, ‘The Way Through the Woods’.

SYNOPSIS

The title of the episode, “Zenana”, is a word derived from Hindustani and Persian, meaning “the women’s apartments” – sometimes denoting a harem.

The ‘freak accidents’ continue but Morse believes that they are anything but accidents. Thursday refuses to believe that the accidents are anything else but accidents and tires of Endeavour’s need to prove him wrong. The strain begins to show in the Thursday and Endeavour’s relationship.

Endeavour falls in love with Violetta but as they say, love never runs smooth. Who will win her hand, Ludo or Morse?

The towpath deaths continue and the team race against time to stop the killer before anyone else killed.

REVIEW.
(warning, this review will contain some spoilers)

Let me count the ways in which this episode was far from original. Firstly, opera and shootouts? The Godfather III, Miller’s Crossing, Mission Impossible: Rogue Nation, Quantum of Solace, Untouchables, Diva,  to name but a few.

A psychotic serial killing whistler? How about the P.D. James book, Devices and Desires, with the detective Adam Dalgliesh?

A story-line about someone buying insurance policies and then bumping people off to cash in the insurance policies? Taggart, an episode called, Death Benefits. (thank you to Sheldon for this one)

Serial killers are ten a penny in TV dramas. It’s a cliche writers run to when they have become bankrupt of any original ideas.

Original ideas and story lines are difficult to create. It is even more difficult today as television has to fill those 24 hours in a day. ITV churns out dramas from its sausage factory to fill the fifty two weeks of the year, wrapped in a skin of desperation. Desperate to retain their audience who are defecting to the likes of Netflix and Amazon Prime.

I understand that it is near impossible to write an original story-line for television dramas but at least make the effort to create something about it that marks it out as different from those programmes that came before. It is the same in music. If you are going to do a cover version, make it your own. The Boyzone cover of the Billy Joel song, Uptown Girl was a straight copy of the original which in my mind makes it redundant and useless. Unlike Johnny Cash’s cover of the Nine Inch Nail’s song, Hurt. Cash made it his own. He created something different from a song that had already been recorded.

That is what the original Morse series did. It took the tired format of police dramas and turned it on its head. I don’t believe that the original Morse would get made today. It doesn’t have shoot outs (apart from one episode, Promised Land). It didn’t have huge body counts each episode (apart from one episode, The Service of All the Dead). Endeavour had TWELVE deaths in three episodes. Eighteen in just over a year in Oxford if you count the ‘freak accidents’. Absolutely ridiculous and over the top.

What makes this series worse is the all too quick change in the characters of Fred Thursday and Endeavour. At the end of the Degüello episode the whole team were on top of the proverbial world. All were happy that the status quo had been restored. But, suddenly at the start of this series Fred takes against Morse and vice versa. It is all too rushed and sudden and doesn’t make sense in the context of the sixth series.

The scene where Endeavour tells Bright about his suspicion that she was murdered was completely act of character for Morse. It showed Endeavour being insensitive, thoughtless and crass. This out of character need to tell Bright seemed to be specifically written to elicit yet another emotional scene. It’s all about manipulation.

Another problem in regard to a change in character is in Thursday not listening to Endeavour in regards to the ‘freaky accidents’. In earlier episodes Thursday would have told Morse to run with his idea that the accidents were not accidents but don’t let it interfere with his investigation into the towpath killings. It is quite ludicrous that the Thursday in this series is so close minded.

The direction was good and workmanlike. I sympathise with TV director’s as they have little in the way of time or money to create something ‘filmic’. She did try to introduce the filmic technique of the Dutch Tilt/Angle but it was used when it didn’t make sense, apart from one time, in regard to the reason filmmakers use the tilt/angle.

The Dutch Tilt or Angle is utilised to depict or cause a psychological apprehension or tension for the viewer. It works well in the second scene shown above with Jim Strange but not with the other two scenes. In the first scene Endeavour is simply visiting the pub to ask questions about the family killed in the fire. No apprehension. No tension. The last scene with Sturgis looking for Jim may just about qualify as right for a Dutch Tilt but not quite.

Here are three good examples of the Dutch Tilt.

Next we are back to the problem I mentioned in my review of Raga, overuse of music.

Watch this scene.

Incredible acting from Anton Lesser. An emotional tour de force. But, why add the music? From Anton’s sublime acting we already know it’s an highly emotional scene. It doesn’t need the music to telegraph to the audience that this is an emotional scene.

It’s the way of so many TV dramas, they feel the need to add music because they believe the audience are too stupid to realise what is going in the scene. If the acting is good enough then there are times, especially in emotional scenes, when music is simply intrusive. TV filmmakers appear to believe that they have to fill ever scene with music. Sometimes silence is better.

More people need to be critical of what they are watching rather than saying, ‘just enjoy it for what it is’. Because Shaun is hunky and charming doesn’t make the show a good one. I believe that if a whole episode was just Shaun sitting at his desk looking wistfully toward the distance some people would believe that it was a great episode. Someone argued that Endeavour series seven must be good because the show has a high rating on IMDB. If you need to mention that statistic then it begs the question as to why one needs that affirmation that one is watching a good show. IMDB stats are not empirical evidence.

One needs to be critical so as not to enable poor films, TV and music. I have been a fanatical Bowie fan for some fifty years but I will freely admit he created some duff albums (Tin Machine anyone). I love the work of Alfred Hitchcock but even I couldn’t write a good review for the likes of Torn Curtain and Family Plot.

Series seven should have been stand alone episodes and not the three interconnected episodes we got. The two main story-lines, Ludo/Violetta and the towpath murders were stretched to breaking point. One episode each for the afore-mentioned story-lines would have been perfect with a final episode with a more down to earth case that set us up for the eighth series.

The acting of some of the cast was not good; I speak of Stephanie Leonidas as Violetta Talenti and Ryan Gage as Ludo Talenti. Put any of their scenes side by side with any of Anton Lesser’s scenes and the difference is palpable.

I’m uneasy with the constant smoking of Endeavour if for no other reason that John Thaw died from Esophageal cancer due to his heavy smoking habit. It seems rather insensitive to me.

Some questions I have about this episode and this series as a whole.

Was it too difficult to mention what happened to Ronnie Box? Did he survive his injuries? Was he jailed and for how long? Even a throwaway line would have sufficed. But Russell Lewis has a habit of this kind of thing. He appears to just ignore some events of previous episodes.

For example in the pilot episode the person in charge of the police station was DCS Crisp. Bright is introduced in the second episode of the first series, Fugue. No mention is made of what happened to DCS Crisp. This has happened quite a few times.

Why not mention WPC Shirley Trewlove? Again just a throwaway line would be sufficient.

Why does Endeavour come down hard on Thursday and his gut feelings. Hunches and gut feelings are what drives Morse. Many of his cases are solved by gut instinct and hunches in the Endeavour and the original series.

Why would the killer whistle the tune in front of Jim Strange?

How did Fred know where Endeavour was staying in Venice?

Why did Endeavour leave his bedroom door in Venice unlocked?

Why would an intelligent woman decide to put the ladder at the furthermost point to reach something?

Why did Endeavour send the package to Joan and not direct to Fred? Answer: to elicit yet another emotional scene. If the package had been sent to Fred he would have read it and then made his way to Venice without any need for any kind of emotional scene. It’s all about manipulation of the viewer.

Why was it necessary to injure Jim Strange? We all know he can’t die. Yet another attempt to manifest an emotional scene? Update to what I have written. David Shephard in the comments came up with an excellent theory about why Jim was stabbed.

“I wonder if by S8 we will see him move more definitively towards desk work rather than being ‘on the street’. His injury could be used as a reason why he moves more towards policy than operations. His masonic connections would enable him here too.”

Thanks David

Something else that grated was during the conversation between Endeavour and Fred after Carl Sturgis dies and Jenny has been put into the ambulance. Fred asks when Morse is starting at Kidlington. Morse and answers, ‘Fourth of Jan.’ Morse would never use such an abbreviation.

I often get attacked for my opinions but I always state that they are just my opinion, not the only opinion and not necessarily the right opinion but for this moment in time it is my opinion. I am honest in my evaluations of all episodes in the Morse Universe. I have no desire to be sycophantic in the hope I will get noticed by those who make the Endeavour series. I always justify my criticisms.

By the way, McNutt better be played by a Scottish actor.

The three stars are primarily for the Anton Lesser scene mentioned above. Max’s dressing down of Thursday and Endeavour (see video below) and the cinematography.

Episode Jag Rating – out of 10.

MUSIC.

The episode opens with the Winter section from Vivaldi’s The Four Seasons; Concerto No.4 in F Minor for violin, string orchestra RV 297. The Ryom-Verzeichnis or Ryom Verzeichnis (both often abbreviated RV) is a (now standard) catalog of the music of Antonio Vivaldi created by Peter Ryom. The catalog is often used to identify Vivaldi’s works by a simple number.

Though Vivaldi has been used before in Endeavour and the Morse series, the Four Seasons has not been utilised until now.

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Around the five minute mark we have Charlotte Potter as Petra Cornwell singing. IMDB incorrectly names her as Petra Connolly. What a fantastic voice.

It is Schubert’s Ave maria.

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Morse visits Violetta at their love nest. She is listening to It’s Getting Better by Cass Elliot. Released in 1969.

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Ludo visits Endeavour around the 30 minute mark. I didn’t recognise the piece.

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The opera music at the end of the episode was specifically written for the episode by Matthew Slater, who has done a wonderful job through the whole third series apart from a few missteps in my opinion, and Russell Lewis who wrote the Libretto.

Matthew Slater wrote on Twitter: Our Endeavour opera that has been across all 3 films was indeed written by Russell Lewis, wonderfully translated by @RosettiNico and I added the music bits-its full name is LA SPOSA DEL DEMONIO o LA CURA PER L’AMORE.

LITERARY REFERENCES.

Jenny is telling Morse of the time when she played hide and seek in her childhood, “I hid in my aunt’s wardrobe once and it was all fur coats.” This is reminiscent of C.S. Lewis’s The Lion, the Witch and the Wardrobe. That wardrobe was also full of fur coats. Lucy hid in the wardrobe during hide and seek.

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Thank you to Leo who noticed the following three literary connections.

“There is a possible literary reference in the name of the character Juliet Baring. Maurice Baring was an author on whom G. K. Chesterton based the protagonist in his collection of short stories ‘The Man Who Knew Too Much’. One of Baring’s book was ‘Letters to Lady Juliet Duff’ with whom he was very close. Put them together and you get Juliet Baring.

Another literary reference – Petra Cornwell is a nod to the crime writer Patricia Cornwell.

I suspect Russell Lewis recently saw the Hollywood movie ‘Mr Rogers’ Neighbourhood’. This is a biopic of Fred Rogers – Fred Thursday/Roger Allam. One of the characters played by Fred Rogers is Lady Elaine Fairchilde.”

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In Morse’s letter to Joan he writes of Fred, “He has ever been the best and wisest of men.” Watson says this of Sherlock after his apparent death at the Reichenbach Falls. Watson writes’ “whom I shall ever regard as the best and the wisest man whom I have ever known.”

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Nick in the comments section noticed this literary reference, “Sturgis’ lawyer, Mr Vholes was Richard Carstone’s lawyer in the case of Jarndyce v Jarndyce in Bleak House.”

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Thank you to Karla for noticing this literary reference. “When Ludo welcomed Morse at the cemetery he said: “we all have our entrances and exits.” This quote is from Shakespeare’s As You Like It.

“All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts.”

LOCATIONS.

Within the first minute we see the house where Carl Sturgis is found to be living in.

Location unknown.

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In the third minute we get a view of All Souls College.

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In the fourth minute we listen to Magdalena Byrne giving a speech.

This is Merton College which is standing in for St Matilda’s College.

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Where Bridget was killed.

This is Stockers Lock on the Grand Union Canal.

photo of Stockers Lock, grand Union Canal

photo of a bridge by stockers lock

The previous killings were carried out at Church Lock and Bridge 116 on the Grand Union Canal. The two locations are quite some distance apart. Church Lock is number 29 on the Grand Union Canal while Stockers Lock is number 82.

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The singer of Ave Maria is standing in Fellows Quad, Merton College. The singer is Charlotte Potter who is a Soprano in Opera and Musical Theatre. Here is her website address; https://www.charlottepottersinger.com/

Below is part of a video I filmed of Fellows Quad in April, 2019. I start in the Front Quad.

The window marked with an arrow below is the room the camera is situated when it films Charlotte Potter singing from afar. The camera then moves into where the Warden is discussing the vote on allowing men into the college.

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The home of Elaine Fairchild. Location unknown.

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Around the tenth minute Morse drives to his love nest.

This is Magpie Lane, Oxford.

Violetta and Morse come out of this blue door.

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The Thursday’s home. The address is 10 Ramsey Road, Headington.

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Where Petra’s body if found.

Stockers Lock on the Grand Union Canal.

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Endeavour visits Magdalena Byrne after the death of Petra.

This is the front quad of Merton College. Merton College Chapel is in the middle of the picture. The entrance to Merton College from Merton Street is where you can see the lecturer leaving by on the right.

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Endeavour sits with Magdalena.

They are sitting with their backs to Merton College Fellow’s Garden.

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Protesters against allowing men into Lady Matilda’s College.

This is St Alban’s Quad, Merton College.

Below is my video of St Alban’s Quad.

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Carl Sturgis makes a statement after being released from prison.

Thanks to Coco who discovered this location. It is All Saints Pastoral Centre,London Colney, St Albans, Hertfordshire. Brilliant work Coco.

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Where Jenny Tate lives. Location unknown.

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Endeavour walks through Radcliffe Square after having his heart stomped on by Violetta.

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Endeavour looking for answers about the fire that killed the Lindens.

This is the town of Hambledon, Buckinghamshire.

This town and pub were used in the Endeavour episode, Harvest.

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Strange visits the house to enquire about the accidents.

Location unknown.

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I think this is studio set but I can’t be sure.

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This looks like a scene with a green screen.

Two people (Paul and La Gazza Ladra) have, independently, put forward the location of the opera house as Wimbledon Theatre, 93 The Broadway, Wimbledon, London SW19 1QG.

I think they could be right. However, I don’t think the entrance is the Wimbledon Theatre.

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Looking down the Grand Canal of Venice.

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Thank you to La Gazza Ladra on Twitter who pointed me in the direction of the location of this scene. It’s not Venice.

It is Brompton Cemetery in London.

 

PUB LOCATIONS.

I think the ‘pub’ Endeavour and Dorothea in is either a studio set or a College bar.

Thank you to David R who told me that this pub is the Stag and Huntsman in Hambleden, Buckinghamshire. Thank you David.

Image result for Stag and Huntsman hambleden

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Endeavour sets out to ask questions about the deaths of the Lindens and the fire.

This is the town of Hambledon, Buckinghamshire. The pub is actually called the Stag and Huntsman.

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Actors who appeared in the Endeavour Series , Episode 3 ‘Zenana’ and/or Morse or Lewis.

Richard Harrington as Dr. Dai Ferman appeared in the Endeavour episode, Oracle.

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James pointed out that  Don Gallagher who played the coroner also appeared in the Lewis episode Old School Ties.

CONNECTIONS OTHER THAN ACTORS TO THE LEWIS, ORIGINAL MORSE SERIES AND PREVIOUS ENDEAVOUR EPISODES.

Ludo like Hugo DeVries blames his female companion for doing the killings. Hugo blamed Marion while Ludo blamed Violetta.

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Lady Matilda was the name of the college in the Lewis episode Old, Unhappy, Far Off Things. Lady Margaret’s College was the actual college used as a location.

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Mrs Bright affectionately calls Chief Superintendent Bright, ‘Puli’. Puli is a name which means ‘tiger’ in the Indian Tamil-language. This would relate to the story told by Bright in the episode Prey in which he tells of shooting a man-eating tiger.

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Tenuous link time: In Marianne Oldham’s speech near the beginning of the episode she says, “We are prey”. Well…Prey was the title of an Endeavour episode. Told you it was tenuous.

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Another Hugo DeVries connection. Ludo while with Endeavour and Violetta says he pretended to be a Swedish policeman. Hugo DeVries was in a Swedish prison before the events of Masonic Mysteries.

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Sam in the comments, correctly pointed out that, “The insurance policy story-line reminded me a bit of the insurance scam in The Wench is Dead, where deaths were faked to claim the insurance money. Come to think of it a canal murder featured in that episode too.” Thank you Sam.

Penny, in the comments section, quite rightly pointed out that I ignored the gravestone. Here is what Penny wrote.

“I do feel that a paragraph could have been devoted to the ‘Hugo’ theory. I think when you put it all together it does seem to produce some compelling evidence. I notice you did not expand on the gravestone, but I still think that is important. I don’t believe it’s a coincidence that “Sacerdos” is “Priest” in Latin. When Morse and he have their dramatic final encounter in Masonic Mysteries, Hugo says “I am the High Priest….I am Sarastro,” (the latter being the High Priest in The Magic Flute). There are also echoes between the two Finale scenes, with Hugo calling Morse ‘Monostatos’ from the same opera (the idiot jailer, a buffoon, an outsider) to his Sarastro. Ludo of course calls Morse his pet policeman (if I recall correctly) and is greatly amused that they should be considered equals – at that point I felt he channelled the very essence of the chilling, but wonderful Hugo de Vries.”

Thank you Penny.

Miscellaneous.

Apparently this is Matthew Slater the composer and music director of the series.

The map sent to Endeavour from Violetta.

At the top on the left it reads ‘Cheisa Di San Michele’ (Church of St Michael the Archangel).  San Michele is an island in the Venetian Lagoon.

On the same map at the bottom of the page.

It reads ‘orario cimitero’. This translates as cemetery timetable.

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So did Ludo take his name from the gravestone? Or is he an ancestor.

The dates on the gravestone read MCDLX (1460) – MDXXVII (1527). I cannot find any relevance to those dates.

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Below was one of the first scenes in the episode Oracle. One has to assume this will be the first scene in the first episode of the eighth series.

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So does this letter have the name, at the bottom, De Vries or De Vere? Is it an ‘F’ for the Christian name?

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In my last review for Raga one of my readers, Kathy Aubrey, believed the tune that was being whistled to be Oh,Oh Antonio. She was right.

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Violetta mentions to Morse that she and Hugo will be spending Christmas at Cortina d’Ampezzo. Cortina d’Ampezzo is a ski resort in northern Italy.

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Jim told Morse not to take work home, he does. And once again Ludo happens to see said work.

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Really? the places were Ludo and Violetta carried out insurance fraud spell LUDO??????

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I wonder why Strange turned down the chance to be Thursday’s bagman.

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We find out Mrs Bright’s first name. It’s Carrie.

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Men were allowed to attend Lady Margaret’s Hall in 1979.

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Rudi in the comments section wrote this, “Cousin Kevin. Cousin Kevin is an evil character from “Tommy” by The Who. He tortures his cousins…..including playing Hide and Seek. Don’t think this is a coincidence”. Thank you Rudi.

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Sheldon on my FB page put forward this interesting titbit, “Ludo is short for “Ludovico,” also the name of the treatment given to Alex in A CLOCKWORK ORANGE (ie: The Ludovico Technique), to cure him of his violent urges. Russell Lewis’ profile picture (below) on Twitter is a still from A Clockwork Orange of Patrick Magee as Frank Alexander.”

 

Sheldon also believes that the creature that Jenny sees in her moments of delusion, and whom she has painted on to her wall, looks not dissimilar to the Babadook.

Image result for Babadook

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Ivan mentioned in the comments section this observation, “the funeral director Karl Sturgis works for is Duxbury’s. Perhaps a southern affiliate of Shadrack and Duxbury, the undertaker which employs Billy Fisher in (the film) Billy Liar.”

FRED THURSDAY’S WORDS OF WISDOM.

Fred was too grumpy in this episode to have any wise words for us.

THE MURDERED, THEIR MURDERER/S AND THEIR METHODS.

Bridget Mulcahy was killed by Carl Sturgis.

Her neck was broken.

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Petra Cornwell. IMDB incorrectly named her as Petra Connolly.

Manually Strangled. Killed by either Sturgis or Clemens.

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Nancy Deveen is one of the ‘accidental’ victims. Apparently hit her head on a large bust.

Killed by either Ludo or Violetta.

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Pippa Tetbury

Killed by either Violetta or Ludo.

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Mrs Bright electrocuted. Killed by Ludo.

CAST

Marianne Oldham as Magdalena Byrne

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Flora London as Bridget Mulcahy

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James Bradshaw as Dr. Max DeBryn

 

Sean Rigby as DS Jim Strange

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Don Gallagher as Coroner

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Charlotte Potter as Petra Cornwell.

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Naomi Yang as Nancy Deveen.

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Roger Allam as DCI Fred Thursday

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Anton Lesser as CS Reginald Bright

 

Jessica Hayles as Elaine Fairchild

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Shaun Evans as DS Endeavour Morse

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Richard Harrington as Dr. Dai Ferman

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Holli Dempsey as Jenny Tate

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Caroline O’Neill as Win Thursday

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Carol Royle as Mrs. Bright

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Ryan Gage … Ludo Talenti

 

Stephanie Leonidas as Violetta Talenti

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Abigail Thaw as Dorothea Frazil

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Andy Williams as Landlord

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SPOILERS ABOVE.

Author: Chris Sullivan

After having looked after my mum for some 11 years she is now unfortunately in a nursing home. I'm afraid her dementia worsened as did her physical capabilities. UPDATE: My mum died from Covid-19 on the 6th May 2020. So, for the first time in 21 years I find myself no longer caring for anyone. Apart from my mum I was also a single parent to two children and also looked after my dad who had Alzheimers, (he died in 2005). So, I have decided to return to University to try and get another degree this time in English Literature. (My other degree I got some 30 years ago is one in Ecological Science). After a year at college I have passed all grades and now will start Edinburgh University in September 2019. I am now in second year having passed all the requirements in first year.

311 thoughts

  1. where in this series is the death of “george fontayne?” morse adds this body to the heap supposedly created by sturgis. someone sturgis killed then covered up via pub fire. i can’t find the incident.

    1. Hi, hespra. There was an item in a newspaper found by Frazil about the disappearance of George Fontayne on the same page as the item about the fire at the pub. Thursday was involved in that case, presumably when he was at a lower rank. Morse asked him what had happened to him. Thursday supposed “Somebody took him, most likely. Or he drowned. Lots of waterways round there.” Morse guesses that Sturgis is actually Johnny Linden and has taken the surname of his grandfather and that he didn’t die in the pub fire, but that he had killed Fontayne and put his body in the pub and set fire to it so that Fontayne’s body would be assumed to be his. This was either to cover up the murder of Fontayne or so that he (Johnny Linden) could disappear and … what? You can find the script on subslikescripts.com
      Has any other episode of E, IM or L led to three pages of comments?

      1. bert:
        three pages comments– not in my lifetime! folks here are not happy with either the quality or quantity of #7. maybe ‘we’ are simply more invested and/or hold higher standards than the general public. there is a lot of crap television out there. maybe we’re snobs. i don’t care.

        on one hand russell should be thrilled that viewers care deeply about these characters. on the other he and shaun could and should be sensitive to cause and effect of viewer response following the final episode.

        have never had problems understanding the morse universe until this season. at first i thought my brain has finally devolved into mush and #7 was the awful proof of my demise.😳 i’m 73 and sensitive to issues in cognitive decline. but after reading the comments i now know it ain’t me that sprung a leak…

        i don’t have an immediate answer for the jetty/dock/where IS morse issue. i haven’t had an opportunity to review that section of the film at length. that’s what it will take. this season is simply too convoluted to attempt any reconstruction of plot from memory. i remember he got out of the boat and stepped to a low flat entry that looked like tile covered with shallow water (an inch?) —sufficient water to obscure a clear view. a “dock” in my unsophisticated terminology.

        thanks for the website to scripts. didn’t know such a helpful thing exists.

      2. bert:
        can you provide full URL for subslikescripts.com? no combination i’ve tried gets past “can’t find server.”

      3. about scripts website. thanks for url, chris. got there. script helps fill in what can’t be ascertained from program audio or captions. note: script does not much help if reader unfamiliar with story.

        george fontayne is child who disappeared in pyrton,1949, same year as pub fire in watlington

        pyrton and watlington, 4 mins or 1.1 miles apart (note: script website spells town ‘pierton’)

        aunt bess, uncle joe, cousin kevin, doris linden, phyllis linden, johnny linden lived together in 4 story pub
        all died in pub fire except phyllis (rescued by fireman)
        phyllis blamed for fire and hospitalized, presumably mental hospital

        dorothea’s research passed to morse. morse finds thursday’s name on police report. thursday then says fontayne incident reviewed in 1959. george fontayne never found. child could have been ‘taken in’ or fallen in waterway and drown.

        thursday, chief of detectives, seems to miss a lot of somewhat ‘obvious’ connections…

        dorothea suggests phyllis linden AKA jenny tate. morse said ‘changed her name?’ dorothea responds ‘who wouldn’t?’

      4. don’t know where this comment will land… but i forgot to add that morse calls phyllis/jenny “jenny tate” when she opens door to morse at her apartment.

        this to clarify where “tate” arose for person here that thought johnny was a tate not a linden–provided johnny is the brother and both individuals are lindens. this season sufficiently scotch-taped together as to make anybody confused as to which direction lay north.

      5. Hi Bert and hi hespra. I have enjoyed reading your interesting discussion, thanks for contributing so much to this debate. Thank you also for correcting my mistake. I accidentally assumed, when I discovered Jenny Tate’s brother was Carl Sturgis, that he must have once been known as Johnny Tate. I apologise for forgetting and overlooking the fact, that the brother and sister in their childhood, were called Phylllis and Johnny Linden. This was before the terrible events of twenty years before, namely the murder of a young boy, George Fontayne, by Johnny, and his deliberate arson of the pub to cover up his crime. Phyllis, as the only apparent survivor of the fire, was falsely accused of igniting this fire. She eventually must have been adopted, where she changed her name from Phyllis Linden to Jenny Tate.

        Nevertheless, my earlier analysis of the plot holes in this three part serialised story, still remains true. How did Johnny Linden at such a young age, escape from the clutches of the law? Where did he live, how did he fend for himself, did somebody take him in, and therefore look after and care for him? There is thus, a twenty year gap to account for, between his childhood as Johnny Linden, and then his sudden reappearance as the serial killer, Carl Sturgis. As a result, there are far too many unanswered questions at the end of this year’s series of Endeavour.

        In addition, why has there been such an increase in the serialisation of stories, reaching its peak, in this most recent Endeavour series? What was wrong with the original format, used throughout the Morse and Lewis series, and in the first four series of Endeavour? An individually crafted, self-contained, feature length episode, was a recipe of success for thirty years, so why change it?

        In fact, when John Thaw’s Inspector Morse first began in 1987, a two hour format with adverts, or around one hour forty minutes without commercials, was seen as quite a risky adventure. There were few detective crime dramas, that were longer than one hour in length on British television, prior to this bold move. Would the public’s attention span hold out, to watch a slower paced mystery? Thankfully, the answer was a resounding yes, Inspector Morse was a phenomenon, and it was enjoyed by millions around the world. In many ways, John Thaw and Kevin Whately, revolutionised this genre, and many other shows have since followed suit. As a result, the feature length detective has since become a regular staple on television.

        Curiously though, the writer, and the powers that be at ITV, have decided for the past three seasons, commencing in series five, that Endeavour should have stories that are not fully explained, or concluded in one episode. Thirty years ago though, their was real worry a two hour programme would not catch on, and be interesting enough for the public. That opinion was wrong, but now we are expected to follow a story, which is told through several feature length episodes.

        Inspector Morse episodes are still appreciated and repeated on British television channel ITV3, thirty years after they were first made. I cannot honestly say, whether Endeavour will still be enjoyed many decades later. Nonetheless, expecting future generations, for example, to watch series seven, and connect plots stretched out to breaking point over three episodes, to about four and a half hours in total length, is surely asking far too much of their patience and toleration.

        All we are asking for in the final series of Endeavour, is for it to return to the basics, or the fundamentals, which sets it out from the crowd. Two detectives, who have an intriguing but strong relationship, slowly solving a riddle, and deciphering a complex plot. The emphasis should be on the main storyline, with the investigation solved in that episode. Less distractions please, thus fewer depictions of domestic life, and a little more subtlety. Less long and turgid love affairs, we know unfortunately Morse cannot get married. Thus I would prefer little sparkles of romance for Morse. Less murders, as the death count has risen absurdly high, lately. Less far-fetched ridiculous plots, and less possible looming death scenes for Morse, we know he cannot die in this prequel.

        There should be a little more humour. More cases related to the Oxford colleges. More beautiful Oxford location scenery. More traditional pub scenes. More down to earth investigations. More tangible connections to the Morse and Lewis series, and last but not least, some more classical music, although it did return to some degree, in series seven. In addition, if there is to be any hint of a serialised story, keep it fairly subtle. A good example was in series two, when evidence was being removed by the long arm of the Masons. We eventually found out, this pre-empted the battle against various corrupt elements of Oxford society, during the finale, “Neverland”.

      6. Hi James, I recently read a PBS Masterpiece interview with Shaun about the series 7 ending. I thought very insightful into the characters, the plots, the operatic theme, and the trajectory of the story. In particular Shaun is asked:
        MASTERPIECE:
        Would you ever do it again like this, with one single over-arching story?
        SHAUN EVANS:
        No, I don’t think so, because so many great detective shows do that in such an elegant and interesting way, where the crime story goes over the whole series. We just wanted to try it, to see what it was like. And I think was good, but I feel like we’ve done it now.
        So I think series 8 will be back to one story per episode and I’m glad of that. I think you would like this interview if you can google it on Masterpiece PBS. I emailed the link to Chris so perhaps he can share it if he deems it worthy!

      7. Thanks Kathleen for your reply. That is very kind of you to share this information, related to an interview with Shaun Evans, thank you. I am pleased to hear, that it appears series eight will not be another serialised story. It will hopefully be back to the tried and tested approach of stand alone episodes. I suppose you do need to trial a new policy occasionally, but the serialised element went too far in this seventh series, in my opinion. There were so many loose ends, which have not been tidied up, and there were two storylines stretched to breaking point, (the canal towpath serial killer, and the Ludo and Violetta life insurance scam) with far too many murders. Let’s all hope the final series of Endeavour, will return it to the high quality we witnessed in the first four series, and that it can go out on a high.

    2. Hi, hespra. We are close in age, if not in location. I’m 72. “he got out of the boat and stepped to a low flat entry that looked like tile covered with shallow water” This is the supposed dock at the supposed cemetery island of San Michele near the end of the episode. [I would call it a dock, too.] I cannot swear to it, but I don’t think that there is a dock like this in Venice. The boat he gets out of is unlike any water taxi I’ve ever seen, but I wasn’t visiting Venice in 1970. Perhaps they went to the trouble of getting a 1970-or-earlier water taxi. You can see more with Google [water taxi venice 1970]. I’ve not looked at every image, but none I’ve seen looks like the one in the film (movie).
      But you wrote (much earlier) “[EM] Appears to head directly to his hotel room.” This was the jetty scene which was much earlier in the film (movie). It hardly matters, really, and it could be that you are mixing the two disembarkations up. I was just curious that you wrote that he got off a boat and appeared to walk to his hotel, whereas we (UK) did not see the boat he got off. If he got off a boat having just arrived in Venice he should have been carrying luggage. As I didn’t see a boat, I was prepared to allow that he had just walked to the end of the jetty as a tourist to view the Grand Canal, turned round and walked back. He would not have been carrying luggage if this was the case.
      The scripts – you’re welcome. A shame they do not show who is speaking, though of course we know, having watched the episode many times.

      1. bert:
        i totally missed the ‘jetty’ scene where morse walks back from water’s edge (presumably towards auditorium/hotel complex?). i likely broke up a cat fight or went to the kitchen for something and wasn’t paying attention. a big mistake if one wants to keep up with the story. no wasted shots in morseland.

        we never, to my knowledge, see morse carry luggage. neither does thursday. they travel light.

        did you watch beginning of # three without sound track? that five minutes pretty much establishes death-death-death in short order. one pass through the taxidermy found in the horror house tells viewer nothin’ good happened there. we have to wait for the basement’s laboratory scene to figure out how all the stuffed animals found their way to that house. nonetheless the foreboding clearly cast in first five minutes of film. gave me the c-r-e-e-p-s.😱

    3. Hi, hespra. I don’t know where this comment will land either. It seems we have to search for the last comment that has ‘Reply’ at the end of it. I would like this to land beneath the one of yours that I quote from: ‘morse calls phyllis/jenny “jenny tate” when she opens door to morse at her apartment.’ Morse call her that because that is what she is known as – it’s what she calls herself. Morse has no idea that she is Phyllis Linden at this stage.

  2. Nicolo Machiavelli, who needs no introduction, died in 1527, but was born in 1469, so a half match for the gravestone.

  3. about mrs bright. i have mixed feelings about what happened to this lovely woman. cancer treatment in 1970 america was not effective. likely the most she could hope for was to slow the decline. it would become harder to breathe, greying of skin more pronounced, decubitus ulcers forming on pressure points touching the bed, inability for her to self-manage even the most basic human functions. had russell put her –and us– through that, carrie’s death would be even more tragic. perhaps in some perverse way a shock was the kinder end.

    russell could have allowed carrie to remain in remission in season 8. i would have appreciated it. but… i think russell sought to bring mr. bright to his knees. in short order. carrie’s situation did exactly that. i suspect the division is now in substantial chaos: strange injured, bright unhinged, thursday smoldering and spewing resentment, morse more aloof, 1/2 way out the door.

    there has been no acknowledgment that three other men involved in the disgusting laying-of-hands routine were ludo’s cover inside the bright home. when ludo snapped carrie’s neck back towards the pillow none of the guys in maroon-red prayer dress batted an eye. culpability.

    the audience is invested in the brights. more so than the rest of the victims put together. how double-damn-dare-you, russell lewis, for doing that to carrie bright. i can’t see how russell will let that whole scenario pass without bringing the red suited trash to justice.

  4. One final comment for me (as I think I have said enough about this series) yes, for me, the Ludo/Violetta storyline was bad and a waste of a series (at the expense of the murder mysteries, the other great characters and good writing to explain Morse/Thursday aggro) but the one thing that actually makes me cringe – is the scene with the last young victim Petra (great acting from Max and Strange here) but they all walk off and leave her crumpled body – don’t even cover her and there are no other police in the background – right out on the towpath – like she was a bit of rubbish. Perhaps I saw a cut version as I couldn’t believe such a bad error in an amazing high quality series.

  5. I am surprised you gave this even three jags. (although I understand your reasons). It would have made more sense for them to be getting along in episode number 1, carrying over from end of the last season. And then start to drift apart as this season went on finally having a huge unresolved rift at the end of the third episode.
    I haven’t read through ALL the comments yet… And if Ludo is supposed to be Hugo he isn’t at least at present any of where near his deviously sinister character. Just my opinion of course.

  6. james:
    about 1949. this would be post WWII; with linden children born, presumably, just before or during the war. at the moment i’m thinking about images from pink floyd’s “the wall” where english children marching to “we don’t need no education” while bombs, wreckage, and death ruled the land. england went through horrendous times.

    given pub fire occurred in 1949 it seems likely that many children in that era were displaced, orphaned, lost to god knows what. also seems likely that johnny could have been quietly absorbed into a home or institution and just dropped off the radar. he was disturbed and dangerous even then, but issues in behavior may have been attributed to the general trauma existing through the land at that time.

    no intent on my part to “correct” your belief it was “johnny tate” just hoping to explain where one could easily conclude the lindens were tates because jenny refers to herself that way. so many huge holes in this plot. doubtful # seven will ever be popular with anyone. even if evans, et al. gets their collective act together in # eight.

  7. Thanks for your reply hespra. I agree with many of the points you have just mentioned. That could certainly be true, regarding Johnny Linden, in terms of where he ended up, during the twenty years that were unaccounted for. As you say, this would fit in with the historical patterns of the time, Therefore, perhaps Johnny could easily have been swallowed up, like so many displaced children of the era, and thus left in a children’s home or some form of institution. Anyway, thanks for taking the time to read my comments hespra, and that is all from me for now.

  8. I quite like your blog. I’m a long-standing Inspector Lewis fan. I’m a young woman who appreciates the aforementioned hunkiness and charm of Mr. Evans, but I feel like the show went downhill after season 5 (I blame no more Colin Dexter to keep Russell Lewis in line, so he thinks he can do whatever he likes now.) I will have to check out the original Morse series and the novels.

    1. Kathy – great point re: Colin’s passing – I agree that from S5 it started to go downhill (although a couple of episodes in that run were really good) and that is the same time that Shaun became collaborator and producer. An interesting article a couple of days ago when he confirms they will not be filming until 2021 (which means we will not see S8 until at least middle/end of 2021) and he talks openly about being actor, director and producer and makes no secret of his influence over the storylines – as talented as he is I associate his influence over the series and Endeavour the character with the decline from S5 (peaking with S7 where clearly most of the storyline and Violetta was his creation just fleshed out by Russ as writer)

      Sadly I actually see Shaun as the reason for the decline more than Russ.

      1. Re: Shaun interviews – I may be the only one but if I see another interview stating that Shaun has never watched any Inspector Morse episodes AND his reasons for that I will scream – I cannot even count how many articles I have seen over the past 7 or so years – was interesting the first years of the series but now…..TBH I felt it was a little egotistical of Evans back then but that as an actor he had a reason – now ? I feel it is kind of arrogant – but to be fair to Evans these articles may be simple rehashes – personally as he now has such influence over the character and storylines he may actually benefit from watching the original series……

      2. Hi Maria, I agree and I’ve always felt that Shaun should have watched the original Morse episodes so there would be more continuity of character

  9. all: about “puli”. input please.

    puli means tiger in language x. east indian i think chris said. i read chris’ theory connecting carrie bright’s nickname for her husband with endeavor (series three, episode three “prey”. found “prey” now on netflix. watched it again).

    an adult bengal tiger has been surreptitiously kept in or near an oxford compound. the animal, caged in a 10 x 10 foot wire-fenced lean-to, being grossly manipulated (by various characters associated with the compound), tormented into becoming a serial ‘maneater’, starved, and ‘driven mad’.

    in the end, the tiger –within a huge maze constructed on the compound from dense shrubbery– goes on scent of woman and child. morse, thursday and others enter maze on pursuit. tiger kills man trying to kill tiger via big game rifle. tiger corners morse, woman and child. tiger leaps. bright shoots the animal in mid air. bright says “damned shame. magnificent creature. damned shame.” morse loses his lunch.

    my question: why?? would carrie continue to use “puli” as a term of endearment some years later– given the obvious pain reginald felt when compelled to kill that “magnificent creature.” why remind him? I don’t get it.

    other tidbits from this episode i found interesting:

    1) taxidermy here –as well as # seven. two house-cats on the desk. two big cat heads, plus attached hide, facing each other on the table. what is it with the english fascination towards stuffed animals? trophies?

    2) while interrogating suspect, fred explodes. beat the guy to a bloody pulp. morse and strange pull thursday off suspect’s throat. fred surrenders his badge to bright only to have bright concoct fictitious story to explain suspect’s injuries (fell down the stairs on way back to cell). whoa. bright says there are “no bad men only bad officers” and refuses to accept thursday’s resignation. brutality rules?

    1. I think that nickname came from their years spent in India when they were younger so before the time period in Prey.

  10. Kathleen – I kind of got him not watching when the series first started (although I didn’t necessarily agree but am not an actor so may have something to do with how he approached the character) but agree much better continuity if he did watch. When I thought that Russ (who clearly did watch and is very much knows the earlier series extremely well) was driving the series and Endeavour character I didn’t mind but as obviously now Shaun is the driver of the character and plot lines for the last two series I feel rather imperative that he does watch.

    I do feel that Evans ‘cherry picks’ between the Inspector Morse series and the books (eg the smoking, womanising etc) to suit. I am also over the continual obsession with explaining no Thursday in the Inspector Morse series – I actually feel the need to ‘explain’ that has hampered the last few series. TBH there is no real reason that they need to make that so big after all, Frazil, Bright and Joan are never referenced in the later series either and clearly they are quite pivotal to him now.

    I read a Endeavour comment recently when someone was mentioning one of their early life mentors that they hadn’t mentioned or thought of in years – I have to confess to the same.

    1. Maria, Good point about the lack of mention of Joan, Bright and Frazil. I hadn’t thought of that. They did play a pretty substantial part in Endeavour’s life on the outside but not the intimate, everyday mentor/father kind of role Thursday played.

      1. Kathleen – the site seemed to have eaten my reply so hope this comment doesn’t come in twice !

        Excellent point – you are so right the Thursday/Morse relationship much more intense and life altering so a lot harder to just explain away.

        I feel that the way they have become obsessed with the ‘exit’ of Thursday (and twice in a row this has been the thrust of the PR before S6 and 7) is indicative that despite Russ’s comments to the contrary they actually didn’t have an exit planned.

        I thought so in S6 that the lead from losing his money in S5 and getting involved with Box would be the story arc and exit – but then it was completely undone in the finale. Then we start off S7 with this very nasty sniping that is not explained (again maybe if they had picked up the corruption thread from S6 it may have worked) and the sniping culminated in the very brutal (and wrong) putdown by Morse in front of Strange and Debryn (and the dead girls body) but again – all undone in the finale.

        I feel that Thursday/Morse fracture is the new Morse/Joan ‘thing’ – we were teased for about three series for it to go nowhere……. (at least we are done with that)

        For me that highlights that Shaun (and to a lesser degree Roger) are driving both their characters and the plot lines now and Russ is just writing what they decide – which is a real shame as Thursday is TRULY Russ’s creation.

    2. He’s not the first actor I’ve heard say something like that when they’re reprising a role another actor did, that they didn’t watch because they didn’t want to slip into mimicry. I think I did see an interview recently where he said he would have to watch (and maybe even started to) as the Endeavour storyline comes closer to Morse’s.

      There is an episode of Morse, I can’t remember which one, where Morse refers to a police officer colleague who was murdered several years before. They gave a different name than Thursday, but it made me wonder if that isn’t how Endeavour will end, with Thursday getting killed and Morse traumatized enough to not want to mention Thursday. I hope it will give Thursday a good exit, this season was kind of ridiculous, with the sudden alienation and combativeness that seemed to come out of nowhere.

  11. To those who think Shaun SHOULD watch Morse episodes I heartily agree. Chris should plop Sean down in front of his DVD player and not let him up until he knows Morse and can see ALL aspects of his character including the compassion and vulnerability he still had in spite of his flaws.

    1. If I did have that oppurtunity, I would have him watch three episodes that would let him know what he becomes and so allow him to not only improve his character but to get a better sense of who Morse is: Dead on Time, Masonic Mysteries and The Dead of Jericho.

  12. There were at least two other unoriginal story elements in Series 7 (in addition to the opera shootout, the insurance-policy payout as motivation for murder, and a whistling serial killer): the revelation of one character as a long-lost close relative of another (a veritable staple of the 19th-century novel, and one that pops up frequently in 20th-century mysteries), but also the current love-interest of the main detective being revealed at the end as a murderer (apparently so that the detective can continue to be single, and thus available for new amorous encounters, in future episodes).

    I’m glad that the writer omitted at least a couple other clichés that appear frequently in mysteries: 1) an ostensibly disabled suspect (e.g., one confined to a wheelchair) proving to be the murderer, and 2) a person who seemingly narrowly escapes being a murder victim proving instead to be the murderer. At least those old tropes weren’t used in this series! I enjoyed it, but it was dizzying with so many plot lines.

  13. Hello Chris

    I just want to thank you for your website! What a great job !!

    I discovered Endeavor two months ago and your website a month ago. I have returned to watch all the episodes and then read all your reviews and all the comments. I have really enjoyed it! How much information!

    Now I’m starting to see Morse. So far I have seen 7 episodes, until Last bus to Woodstock, which is the one I liked the most. For now I see little conecction between Shaun Evans’ Morse and John Thaw’s. The older I see something more carefree, less formal but I still have many episodes for watching

    From Endeavor this is the worst season to me. I think the actress who plays the role of Violetta is not very good. The rest of the actors are really good but I think she doesn’t fit.

    I think I’m the only one who doesn’t like Thursday. He’s a bully, he uses physical violence to extract confessions, ¿would he have solved any case from 65 to 70 without Morse’s help? He had suffocated Joan, he took money in the sixth season… I’m looking forward to him stopping showing up and seeing Morse with McNutt, although I don’t think that will happen since I’ve read that since the fifth season he’s also a producer.

    I hope you understand me well, I am Spanish and not very good at English

    Thank you very much for all your work !!

  14. Can anyone enlighten me as to why Ludo wanted a “pet policeman”? Was he trying to discover whether his insurance-and-murder scheme was being investigated? Was the affair with Violetta part of the plan?

    1. Yours is one of so many loose ends and non sequiturs in this series, I don’t know where to begin! Since Ludo was (apparently) not in Venice when Morse and Violetta first met, I don’t see how that could be part of the ‘cunning plan’. He could not have arranged for them to be sitting within sight of one another. But did he arrange the pickpocket and then bumping into one another? I don’t see how. Morse might not have noticed he’d been dipped — but I suppose the dipper could have been instructed to make the dip obvious. But then what if Morse had caught the thief within a few strides? What if Morse had been curious enough to check that Ludo had been at Beaufort College? Didn’t the otherwise solitary Morse become “friends” with Ludo remarkably quickly? Ludo had some sort of hold over Violetta such that he could force her to arrange the murders of the insurance victims. And I guess he forced her to say she didn’t love Morse, though, at the end, she said, “Ti amo” to Morse.

      1. Bert, I think Ludo did pick Violetta up from poverty, groomed her to fit his needs, and that she was genuinely afraid of him. However, someone made a very good observation that if Violetta was “barefoot walking the streets of Naples” why would she tell Morse that her father used to take her to the opera every New Year’s? Unless, of course, it was just another lie to cover up who she really was and where/what she really came from in order to throw him off the track of what she and Ludo were up to. Or maybe she wasn’t poor and he didn’t take her off the streets; perhaps she met him, he oiled his way into her life under false pretenses and then she was forced to take part in his schemes. So many maybes!

    2. Seth, Yes I think that’s why, “Keep your enemies closer” kind of thing. We know he used Violetta in the insurance scam but I’m not sure the affair with Morse was what he intended since he seemed really upset that Morse was more Violetta’s “man” than his. He states this at the end when he says Morse was supposed to be his pet, not Violetta’s. And he seemed angry when he did find out about the affair. This was most disappointing to me and such a break in character because the elder Morse, as we can see in so many of the episodes, had such a strict code about dating married women. To him, I think, that was forbidden territory and he would never, and did never in any of the Insp. Morse episodes, do that. And I think he would have been that way even when he was young.

      1. Bert and Kathleen – great points, however, it still makes no sense to me that Ludo was not in Venice the first NYE but was the second and Morse didn’t question that he would be there as that is why he tore off to Venice to bring them both in (ridiculous as that is)

        Bert, I don’t think Violetta was forced to do too much and not the poor innocent at all – she must have at the very least known that the dancer had been murdered by Ludo – would you then use her flat and bed to entertain a man you ‘loved’ (and a policeman) for 5 months ? And all these killings (not just the Oxford ones) that you were benefitting from – if you didn’t want to be part of them a simple anonymous letter to the police at any point?

        Agree Kathleen that the ongoing (not just one night) affair with the married Violetta (and the wife of a friend) was completely out of character with both the younger Morse and the older Morse – but as Evans has never watched Inspector Morse and that the whole Violetta storyline seems to be his creation part of the problem. Again, I think they wanted to portray the reason he dispensed so completely with all of his morals was because of this great love but for me it just didn’t come over that way as Violetta seemed rather insipid and had very little personality.

        Seth the whole Ludo/Violetta plotline only makes remote sense to me if the whole thing (the affair/the pickpocket/befriending Morse) was planned by them – to compromise and blindside Morse – I cannot figure out why they were introduced and took up so much of S7 otherwise.

      2. As to dating (and bedding) a married woman, he didn’t know V was married when he first met her. He only found out when L introduced her at the party near the end of Oracle. But he did carry on the affair after that.

      3. Thanks, Bert and Kathleen! I’m glad I wasn’t the only one left pondering the loose ends. I was also trying to decide whether Ludo was a con man living beyond his means, or was actually wealthy and killing people just for kicks. Although I prefer the stand-alone episodes, I can’t help but wish for closure in Season 8.

    3. seth:
      keeping a pet is a human thing. other animals don’t do it. some folks keep cows, goats, pigs, chickens for food; horses, mules, elephants for transportation and work. some keep dogs, cats, birds and___ for companionship, enjoyment, service and dependency.. for one person to want another person as a “pet” says to me two things: companionship, and/or service.

      ludo did not seem the type to collect ‘friends.’ he sought morse’s attention and input concerning violetta but i think that a set-up rather than an expression of companionship. i think that leaves “service” —a motivator where ludo appeared to excel. morse was a link to the law–perhaps for information or an imagined source to blackmail and manipulate. kathleen’s ‘keeping your enemies close’ argument makes sense.

  15. In conclusion I would like to leave you with a comment that my father would probably have made about this series:
    “It’s like muck from China” [You then say: Why?] “Because it’s far-fetched!”

  16. Hi there! Just stepping by to say that instead of Cass Elliot when introducing ‘the Love Nest’ we here in Sweden heard Lewis/Slater’s ‘Make Believe You Love Me’ – the wonderful pastiche in the colorful opening scene of S04E02 ‘Canticle’… Nowadays a must on my Happy playlist!

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