11 Lubomír Doležel, Heterocosmica: Fiction and Possible Worlds, Baltimore, Johns Hopkins UP, 1998, p.10 Gérard Genette, Palimpsests: Literature in the Second Degree, Lincoln and London, University of Neb (.).To some extent, it illustrates Jason Mittell’s idea that a contemporary serial text is “a sprawling library of narrative contents 8” or, as Yvonne Griggs puts it, “a product that has its genesis in an array of textual sites 9”. Before going any further, it is worth pointing out that the question of the source narrative seems particularly interesting in the case of Endeavour: this TV series is derived not directly from a source text but from a TV series adaptation of a source text in other words, this prequel is derived from two sources: the TV adaptation and the source text to that first TV series, potentially an example of what Linda Hutcheon calls “multilaminated” adaptations or “the audience’s “palimpsestuous” intertextuality 7”. This series thus qualifies as a prequel since it is set earlier in time than its source narrative. With 6 seasons and a total of 27 films aired so far, this new series with Russell Lewis (who also devised the story of the pilot for Lewis) as unique writer 6, has introduced the audience to young Morse, played by Shaun Evans, at the time of his first years as police in Oxford. Endeavour, a Mammoth Screen production for ITV, was first aired in 2012 for the 25 th anniversary of Morse’s first TV appearance. If no one could reprise the role of Morse impersonated by John Thaw nor could a sequel be considered, it was however possible to imagine a prequel with a younger version of Morse, which is both the same and different from the Dexter/Thaw creation. This series is often referred to as a spin-off since it is built around Morse’s sidekick played by Kevin Whately, a secondary character now turned central 5. 9 Yvonne Griggs, Adaptable TV, Rewiring the Text, London, Palgrave, 2018, p. 6.ĢThis limitation was no obstacle to the making of Inspector Lewis (ITV, 2006-2015), which was approved by Dexter 3, and whose pilot, according to David Bishop, “became the highest rating drama of the year 4”.8 Jason Mittell, Complex TV, The Poetics of Contemporary Television Storytelling, New York, NYUP, 201 (.).7 Linda Hutcheon, A Theory of Adaptation, New York and London, Routledge, 2006, p. 21.

6 Different writers (including Anthony Minghella and Danny Boyle) contributed to Morse (see Bishop an (.).5 Inspector Lewis pointedly establishes the filiation with Morse in its first episode and makes regul (.).3 David Bishop, The Complete Inspector Morse, from the Original Series to the Screen, New edition, Ti (.).

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