This is a re-release of an episode that originally aired on October 31, 2023.

Agatha Christie’s work has long been a source of screen adaptations. In this week’s episode, Brook and Sarah discuss some recent adaptations, and some they should check out with guest Teresa Peschel from Peschel Press. Teresa, along with her husband Bill, watched and reviewed 201 Agatha Christie adaptations for Agatha Christie, She Watched: One Woman’s Plot to Watch 201 Agatha Christie Movies Without Murdering the Director, Screenwriter, Cast, or Her Husband.

Discussed

Murder on the Orient Express (2017 film)

Crooked House (2017 film)

The Secret of Chimneys (1925) Agatha Christie

Miss Marple: The Secret of Chimneys (2010) ITV

Whose Body (1923) Dorothy L. Sayers

Clouds of Witness (1926) Dorothy L. Sayers

Father Brown (2013-2023) BBC

Partners in Crime (1929) Agatha Christie

Peril at End House(1923) Agatha Christie

And Then There Were None (1939) Agatha Christie

The Murder of Roger Ackroyd (1926) Agatha Christie

Endless Night (1967) Agatha Christie

Murder on the Orient Express (1934) Agatha Christie

Halloween Party (1969) Agatha Christie

A Haunting in Venice (2023 film)

Murder on the Orient Express (2017 film)

Death on the Nile (2022 film)

Nemesis (1971) Agatha Christie

Poirot: Appointment with Death (2008)

Appointment with Death (2021, Japan)

Miss Marple: 4:50 From Paddington (2004)

Murders, She Said (1961 film)

Why Didn’t They Ask Evans (1980 television adaptation)

The Secret Adversary (1983 television adaptation)

The Murder of Roger Ackroyd (2002, Russia)

Agatha Christie’s Hjerson (2021, Sweden)

Ms. Ma, Nemesis (2018, Korea)

More about Teresa

Agatha Christie, She Watched

List of movie and TV reviews

Foreign adaptations list (what Teresa and Bill have and what they’re missing)

Instagram @peschel_press

Instagram: @cluedinmystery
Contact us: hello@cluedinmystery.com
Music: Signs To Nowhere by Shane Ivers – www.silvermansound.com
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Transcript

This transcript is generated by a computer and there may be some mis-spellings and strange punctuation. We try to catch these before posting, but some things slip through.

Sarah	Welcome to Clued in Mystery. I’m Sarah.
Brook	And I’m Brook and we both love mystery.
Sarah	Hi Brook!
Brook	Hi Sarah. So today is Halloween. How will you be celebrating?
Sarah	Oh, I think I have a little pumpkin that I need to take to gather some candy after school today.
Brook	That sounds fun I remember those days fondly.
Brook	But we have another extra special Halloween treat and that is an interview with Teresa Peschel.
Teresa	Hello!
Sarah	Welcome Teresa.
Teresa	Hello! I’m so glad to be here with you all.
Sarah	We’re so glad that you could join us. So, I will briefly introduce you and then we can get started.
Sarah	Teresa Peschel never planned to become a writer, nor did she plan to become an expert on film versions of Agatha Christie stories. At various times she has been a sales clerk, a naval officer, a housewife, and a mother. She gardens, sews, reads, and is interested in sustainability, science fiction and fantasy, and the history behind the mystery. Like Agatha Christie, she reinvented herself as a writer when she and her husband Bill co-founded Peschel Press in 2010. She currently lives with Bill, two of their kids, and four cats in Hershey. And yes, it really is the sweetest place on earth and the air really does smell like chocolate. Welcome, Teresa.
Teresa	Oh I’m always enjoy doing a podcast like this and it’s great to actually see you all in person because I have listened to some of your podcasts and so this is a very this is a lovely treat.
Brook	Well thank you. We’re so happy to have you.
Sarah	Okay, so before we begin, we just want to remind listeners that there may be a few spoilers today. We’ll do our best to avoid them. But it may be impossible given that Teresa’s going to be talking about Agatha Christie adaptations.
Brook	Yes, so Teresa you are the author of the highly detailed guidebook Agatha Christie, She Watched: One Woman’s Plot to Watch 201 Agatha Christie Movies Without Murdering the Director, Screenwriter, Cast, or Her Husband. What made you decide to embark on this monumental project?
Teresa	It wasn’t my idea. It’s my husband. Ah, what actually happened is that I saw my very first Agatha Christie film in 2017 and that was Sir Kenny’s version of Murder on the Orient Express and we were wowed. And over the last couple of years—no, it’s going on 10 years now, I think—Bill has been slowly annotating classic Agatha Christie mysteries and there’s an amazing amount of stuff you can say about her first six books.
Teresa	And we also have a website Peschel Press and so in um, around about July of 2020 I was able to go to the library. The Covid pandemic had lifted up enough that I could go to the library in person and there on the rack of DVDs was Crooked House. It’s a novel that’s really very good. It’s it’s really a remarkable novel and a really great example of the fact that in Agatha Land anybody can be the murderer, and anybody can be the victim. You know, leave your preconceived notions at the door. You do not know who did it, really don’t. So I brought Crooked House home and we watched it and we really enjoyed it and because the website needed fodder I wrote a review and then um, a short time later Bill was in the throes of working on The Secret of Chimneys, which is a actually a romantic thriller. It is a mystery but it’s actually more of a romantic thriller. And I thought “wow maybe there’s a movie connected with this and we should watch the movie.” Well as it turns out there is a movie connected with the Secret of Chimneys and it stars Miss Marple and it is a terrible movie. Absolutely awful. But we watched it, and I wrote a review for the website and Bill wrote a review for the annotated edition and on the library DVD. There were several other Miss Marple ITV episodes so we watched them and I wrote reviews for the website and by the time. I had done the fourth or fifth one. Bill said, “You know you could keep doing this and eventually we’ll make a book into it” and we had no idea that there were as many Agatha adaptations as there were we didn’t know how far back in time it went.
Teresa	We had no idea what we were letting ourselves in for it took us two-and-a-half years just to get to the finished book. So, it was not my fault. It was my husband. It was my husband’s idea I didn’t do this. But it worked out great!
Brook	Ah, that that’s wonderful I love the way that that came about and I just adore the subtitle of your book. It’s just it’s just so fun and really gives readers I think an idea of what they’re in for. You’re going to have a lot of your own flavor in this guidebook. It’s really great.
Teresa	Oh very much so. And I learned a huge amount about the film industry by doing the reviews because I started out as a purist. It should absolutely follow the text. It should absolutely be in the same time setting. You shouldn’t change the location. You shouldn’t change the dates. You shouldn’t change the detective. You shouldn’t do any of this stuff. And that’s not the way the film industry works. And so you end up having to kind of really understand that films and books are very very different mediums and what you can do in a book, especially those internal monologues and soliloquies, they don’t work in a movie. First-person narration, that really doesn’t necessarily work in a movie as well as as third-person because you know you’re watching from ah from behind the eye of the camera and that’s not the same as being in someone’s head. They’re so different and you so you do have to make changes and I had to get over that idea that it needed to be exact.
Sarah	I think that’s such a great point because it can be disappointing for some when they have read a book and then they watch the adaptation and there’s such a disconnect and it’s actually only through having conversations like this that I’ve come to realize why that disconnect happens, right. Because as you say you need you know the the story needs to be told from a different perspective.
Teresa	Or you’re looking at Poirot, who started detecting in 1920 when he was about 60-ish and he finished detecting in 1972 when he was about 60-ish and you cannot do a TV series in which Poirot does not age while the world around him ages 52 years. It does not work. And so that’s why all of the series they end up condensing all of the episodes you know, ah the stories, into a single time period. It lets you avoid that aging not aging issue and it also lets the production company save simply buckets of money on set design and wardrobe and cars and makeup and everything else that’s connected with a film. You can just keep reusing the same things. It just doesn’t work any other way. And the other thing I would like to say about ah the great advantage about ah film and movies is it keeps you an author in the public eye every time. No matter what you can say about the quality of some of the Agatha Christie adaptations and I’ve seen them all, and some of them are truly awful. But each one introduces Agatha to an entirely new audience who may not have heard of her and there are fans for every single film that I have seen including the ones that I thought were just execrable. There are people who like them and the Christie Estate is really on the ball where this ah is concerned because they keep licensing the short stories they license the novels. And so Agatha is not buried under the tsunami of swill that comes out every single day. And I know that you all are familiar with Dorothy Sayers. Wonderful, wonderful author. A contemporary of Agatha, they knew each other, Lord Peter Whimsey is a fun detective. We’ve annotated Whose Body and we’ve got Clouds of Witness up next. She really needs annotating.
Teresa	But Dorothy Sayers ah you think ah you’re familiar also with Downton Abbey. OK, now think about this concept. Lord Peter murder at Downton Abbey why isn’t the Sayer’s estate licensing Lord Peter. And the answer is because the literary agency that owns it doesn’t care. And so Dorothy Sayers is disappearing because she is not on TV and whatever else you could say about you know, having Lord Peter run around ah great English country houses solving murders that had nothing to do with the books.
Teresa	It would have kept her books alive, and the Christie Estate doesn’t want to see that happen and so they are making every effort to keep Agatha out there and it and it works. You figure for every single person who reads a book, a hundred people go to the movies and 1,000 people watch TV. So you have to do this. It has to be done.
Brook	Right.
Sarah	Christie and perhaps the Doyle Estate would be the other one that I can think of that that does that but like I can’t think of many others that are you know remain in our collective consciousness.
Teresa	Yes, absolutely. Eventually everybody falls into the public domain. But Rex Stout and Nero Wolf. Bill, correct me if I’m wrong. There was a TV series I think or a series of movies with Rex Stout. But there weren’t very many. They don’t do it over and over and they could. It’s a great pairing but they’re not there and so they disappear.
Teresa	Ah, Rex Stout is the first one that comes to mind. Ellery Queen is another one. Where are the Ellery Queen movies? Where are the Ellery Queen Tv shows? And you have to keep doing it. You have to keep rereleasing a new series because otherwise again, you disappear into underneath the tsunami of constant media that’s coming out and coming out and coming out and coming out.
Sarah	Maybe I would add Chesterton because there’s the Father Brown series that is on on BBC.
Teresa	Oh there’s a perfect example of this when Agatha Christie wrote Partners in Crime. That’s the cycle of stories that she did with Tommy and Tuppence and I didn’t know this when we started the project I was barely aware of partners in crime even though I like Tommy and Tuppence every single. Partners in Crime story and there were between 15 and 17 of them was a parody of a famous writer of the time, a contemporary of Christie. And when you go back and read them today because we watched the episodes of Partners in Crime I would say that only two she pair of the only three detectives she parodied whose names you would recognize would be herself Conan Doyle and possibly either G.K. Chesterton or Baroness Orksey. Everyone else is gone completely lost to time and yet they were such big names in the 1920s when she wrote these that she assumed her audience would recognize them gone. They are gone. Even Edgar Wallace who was a writing machine and came up with the idea for The Green Arrow and King Kong gone.
Brook	That’s fascinating, Teresa. I’m overwhelmed with your knowledge and I’m so glad that you’re sharing all of this with us today. So a little bit about your process of doing the book. Did you set deadlines for yourself? Did you have a certain order to watch the shows in or did you and Bill just kind of take it as it as it came?
Teresa	Largely we kind of took it as it came because we had to start with what our libraries had um both Dauphin County and Hershey. So we kind of started with the Marples, ITV’s Marples and as I wrote the reviews we started changing how I what I needed to focus on and working out the length of the reviews. Once we realized how many films there were.
Teresa	And we realized if we wanted to get this done in our lifetime we had to go we were doing only one a week and then we had to go to two a week but I couldn’t do more than two a week. So we would end up watching a full-length movie on Friday and I would write the review on Saturday and we would watch an hour long episode of something on Wednesday so that I could write the review on Thursday. So we would intersperse and we would kind of go in order starting with the oldest and working through the newest and that’s how we did the Margaret Rutherfords and then when we got to the David Suchets we realized oh we’ve got the Peter Ustinov ones. So sometimes you have a Ustinov film that David Suchet remade and you want to see them so one after the other so you can do comparisons. And and so we kind of moved back and forth. And as we neared the end of the project. We realized that oh Malice Domestic is coming up in April of 2023 and would we really like to have this book ready for Malice Domestic and then Bill at the same time he’s working out the layout and I can’t show your audience this. But we knew that we wanted two pages for each film because that way you’ve got plenty of space for banner art and mug shots and cast lists and locations.
Teresa	Locations were important to me because that way if you know where the location of a film shoot is you can go look at it. When you’re on vacation in England you can go visit all of these sites. The rating systems and and it took a while for him to work out the layout to how it would actually look on the page and then we would have to edit he edited me and I would change his edits and we would go back and forth. Sometimes we would go over a review four or five times because it had to fit within a certain size. And again we had to learn that as we went along. And as we were putting the book together we’re realizing that there were ah reviews that I wrote early on that I didn’t have I hadn’t said enough for the space limitation and we have to go back and re-watch it and rewrite the review to fill it out and and there were other things when I first started I didn’t know that it was going to be a book at the time and so we had to do a lot of rewriting and reworking. But as we got further along we got better at it.
Teresa	In the book Agatha She Watched, one of the fun things we do it’s got over a thousand pictures and we really had fun with the ratings and so on. There are so many different ways that Agatha kills people. Bill is opening the page for me. So candlesticks and chairs and coshs and clubs and wine decanters and fireplace tongs and millstone quirns and statuettes and sugar hat sugar hammers and wrenches and axes and razor blades and stiletto knives and butcher knives and being pushed over cliffs and pushed downs stairs and garrottes and stranglings and mummies curses and we have symbols for them all and it was. It’s amazing how many ways she comes up with killing people. And one of the things that I also got from the project because I had to read everything is Agatha Christie does not write cozies. And you should never ever ever think that she writes cozies she does not anybody can be the murderer anybody can be the victim and that’s the 1 thing I would say that when you go in to read and read any of the novels. She does not write cozies. You do not really know what’s going to happen.
Teresa	And she is so good that some of her books can only be read once because the second time you read them. You were reading a different book because the ending is so dramatic. You will not forget a lot of this the standard mysteries as you read them even with Agatha you’ll forget. You won’t remember exactly how Peril at End House (1932) ended you know fifteen years later but you will never forget And Then There Were None (1939), [The Murder of] Roger Ackroyd (1926), Endless Night (1967) or Murder on the Orient Express (1934) you will not forget that and the second time around.
Sarah	You talked a little bit earlier Teresa about fidelity to text. So let’s talk a little bit about the new Kenneth Branagh film A Haunting in Venice, which was billed as being based on Halloween Party. What did you think of that connection?
Teresa	We were ah there is A Halloween Party in there. You can see certain aspects of the novel. As I’ve thought about it, I’m very happy actually that he changed the title and changed the setting. Because it does distinguish it from the novel and ah David Suchet made and Mark Gadis made a really excellent version of Halloween Party and my god that film should have been longer because you want to know exactly what Rowena Drake’s children thought of her relationship with the gardener but a lot of it came ah came over into A Haunting in Venice. We were surprised and pleased that we enjoyed it as much as we did because I was dreading it. Murder on the Orient Express when we saw it in the theater. It looked incredible. Second time we saw it we weren’t quite as wow looking at Poirot’s mustache like a piece of wool roving fresh from the sheep and then the third time when we watched it again for the for the book was not wow at all when he turns Poirot into a gun waving action hero which he is not. And then Death on the Nile was ah oh my, God, he didn’t want Gal Gadot to be the villain and so he radically changed her character from what Linnet Ridgeway is and all of the dirty dancing and dry humping on the sides of pyramids and oh my god and they didn’t film it on boats either. Which I thought was simply appalling. This is Death on the Nile it is supposed to be on a ship and they were not anywhere on a ship whereas the other two Death on the Niles they filmed on real ships. The Memnon and the Karnak. No not the Karnak. Ah the Sudan I think.
Teresa	So I was thinking oh god this is going to be awful and it wasn’t. It was gothic and it was creepy and it was scary. And it was very tightly written and it wasn’t exactly Halloween Party but it worked. It really worked and what really worked the best because they still managed to involve a creepy garden just like in Halloween Party is that then he pulled out the motive from Nemesis (1971) and perfect explanation for why Rowena Drake did what she did just absolutely well. I was really pleased and I would say if you were on the fence about going to see this movie. You should see this movie because this sends a message to Hollywood that you want to see this kind of movie and not movies involving men in tights and capes. There were things I didn’t like about it. I did not like how ah Tina Fey as Ariadne Oliver was fine but I did not like her motivation and that she couldn’t come up with ideas on her own and that she was using Poirot and it was all a big fake setup because she couldn’t come up with an idea. And I absolutely couldn’t buy that. And I couldn’t accept Poirot as an atheist. But, oh my God the rest of the movie really liked it really enjoyed it and I’m looking forward to seeing it again when it comes on DVD so I can actually write a review.
Sarah	I share your frustration with Ariadne Oliver. I thought they played off of each other really well and it it was great until that last bit when she revealed what her motivation was and and um, really ruined the opportunity of bringing her back in another film.
Teresa	I know I can’t imagine what he was thinking I really can’t even more than Poirot you know, losing his faith and becoming an atheist which I simply cannot accept I can’t accept that Ariadne Oliver who was a very successful mystery writer long before she ran into Poirot. You see her in the Parker Pyne stories. And no she wouldn’t have that problem. Her problem was kicking ideas out of the way so she could focus on one and get it done and she didn’t need to do this elaborate plot. Now if she wanted to do this elaborate plot to bring Poirot back out of his shell I could have accepted that but not I have writer’s block and I need to steal an idea from you. No that did just did not work did not work. But so much of the rest of the movie. It worked beautifully and um, being in that Venetian I think palazzo is the right word. The building that is ah you know multiple stories with water in the basement and surrounded by water and in the storm and so you’re in a locked house. You’re in a locked building. You can’t get out. And I thought that really upped the ah the atmosphere because you could not escape what was going to happen.
Brook	Yeah I share your your ah feelings very similarly Teresa about dreading it like I was worried going into it and I couldn’t for the life of me figure out how this was going to tie in with Halloween Party. Like how in the world is it is this going to be connected. But as you say it was and it was really clever. You know like when you’d hear a name it would like spark the memory of the novel in your mind and I felt I felt like it was almost like a fun little game in and of itself. So. I overall I I think it was well done.
Teresa	Oh Bill sent passed me a note that I should say why I refer to sir Kenneth Branagh as Sir Kenny. And ah this this actually kind of came from Bill and it is because when we were watching I guess it was for the second time or the third time Orient Express. And he’s got the camera flying around the train as it stopped on the trestle bridge and you see Sir Kenny running across the top of the train hundreds of feet above the chasm where he is going to plummet to his death if he slips and Bill said something to them. That he remembered what Orson Welles said that there is and I’m going to misquote. “You can give a boy as a movie set because he can do whatever he wants with that movie set”. And Sir Kenneth Branagh became Sir Kenny in our household because of that and he has great fun with his sets. You know you you can recognize ah Kenneth Branagh film when you see one because it is so beautifully composed every single shot is beautifully composed to the point.
Teresa	Where even the birds are doing what they are supposed to do because that’s what he wants them to do. It’s his set and it’s his toy and you are going to and you are his little action figures and you’re going to do what he wants, but that’s sir Kenny and yeah, he did really well with A Haunting in Venice and I hope he makes another film with so with Poirot. There are so many to choose from.
Sarah	Yeah I I agree. I’ll definitely watch another.
Brook	Do you anticipate, Teresa, and I know we’re just making a guess here. But do you anticipate his future films will be more like this where he takes the components and kind of mixes them together and creates something new or do you think he’ll go back to doing more of the verbatim storytelling.
Teresa	I have no idea because he changes things to suit himself and I’ll tell you I was really surprised that he chose a Halloween Party. It’s not one of the big novels. It’s one of the last ones that Agatha wrote and if I were to suggest a film, I would say one of the great Poirot novels that are there is no good English language film at all and that would be Appointment with Death. David Suchet made it and it had ah white slaving nuns in the desert. And it was absolutely atrocious but it’s a wonderful novel. Mrs Boynton is one of the great Christie villains. Or there is a film version of Appointment with Death that is totally worth seeing and it is of course Japanese with Mansai Nomura. And it is a wonderful film. Absolutely. Wonderful. They took something very English set in ah um, outside of Petra I think it was and it’s translated to 1950’s ah Japan and it works. It is amazing. And then the other one is the murder of Roger Ackroyd which again David Suchet made and it was terrible. What a mess that was and there are actually so there’s actually ah, three versions of it that I’ve seen and the English language one is terrible. The Japanese one is almost perfect except they slightly changed Roger Ackroyd’s motivation, which I couldn’t buy and the Russian one was sublime, but you can’t get them easily. You can’t get them easily. We I don’t know how Bill managed he he got lucky one day at Daily Motion and there they were daily motion.
Teresa	Yeah, he got lucky a daily motion and there they were because things come and go on daily motion and those would be perfect for Sir Kenny to remake they would be absolutely perfect films because you don’t have an English language version that’s any good. And that’s that’s what I would choose.
Bill	I just wanted to add, I really wanted to say off camera here but he was talking about a Christie cinematic universe with Miss Marple and Poirot.
Teresa	Which has been sort of done that has been sort of done. Because there is a Japanese anime series called the great the great detectives Marple and Poirot and you have a teenage girl named Mabel and she is the daughter of Raymond West which makes her Miss Marple’s great. Ah, great grandniece and she wants to be a detective so she is apprenticed with Hercule Poirot. And there are 39 episodes. But as far as I know, because we did not sit through all 39 episodes, we did one Poirot novel and we did one Marple novel. Poirot and Miss Marple never meet. They know about each other through Mabel.
Teresa	But I can’t imagine Poirot and Miss Marple meeting and solving crimes I just I just can’t I just I just don’t want to go there. So I don’t know. Maybe if if Sir Kenny is really serious about a Christie cinematic universe. Then maybe he will remake a um, um, um, he’ll take a Miss Marple novel and substitute Poirot as the detective. And depending on how you write the script that could work because one of the films that we saw. It’s not in this book, it will be in the future one, Tommy and Tuppence a French Tommy and Tuppence in The 4:50 from Paddington and it works it works and the reason why it works is they didn’t really remake The 4:50 from Paddington that you’ve seen with Miss Marple with ah Joan Hickson and I think it was ah Julia McKenzie Julia it might be Julia McKenzie but I’m not 100 percent sure. it could have been Geraldine. What they really remade was the 4:50 from Paddington called Murders, She Said by with Margaret Rutherford and Mr Stringer and so you substitute Margaret Rutherford for Tuppence and Mr Stringer for Tommy, and you get the French 4:50 From Paddington so you can do this, but you have to be careful with your script and that’s why fidelity to text is not necessarily important it depends on how well they made the movie.
Brook	And we’ve talked about um on previous episodes the value in you know, even if you’re a purist and you really like those ah exact retellings so to speak you can see the value in some of these more creative adaptations because it brings new readers. It brings a new audience. It’s what you said at the beginning, Teresa. It keeps Agatha Christie alive. I imagine after seeing A Haunting in Venice people are going to go out and buy a Halloween Party. Ah, to see what the what it’s based on and so there is a lot of value, even if that’s not your cup of tea when things get changed up.
Teresa	Well and sometimes when they change ah change something substantially. ITV’s Marple was really a risk-taking tv show and sometimes it worked fabulously well. Miss Marple in Towards Zero actually worked surprisingly well. And Miss Marvel in Ordeal by Innocence was outstanding. I really enjoyed it. It made that into a even more of a Shakespearean tragedy than it already was. Gwenda got changed quite a bit in order to become Miss Marple’s former housemaid and it was heartbreaking. There’s a scene there where you see Gwenda looking at herself in her wedding veil and this is right after they’ve discovered that Jacko didn’t do it and she’s just the family turns on her the family that she thought was welcoming. Her. Turned on her including Leo and it’s just heartbreaking and I’ve of the other versions I’ve seen of ordeal by innocence. You know you see different forms of Gwenda but not this one and that’s why fidelity to text doesn’t necessarily matter because. I’ve also seen. Um, the Francesca Annis James Warwick they did um Why Didn’t They Ask Evans and they did The Secret Adversary and in both cases they were so faithful to the text that they became stodgy and kind of dull and you that’s you know that’s difficult because the Russian Roger Ackroyd was extremely faithful to the text and yet they managed to be fascinating. You know it’s hard. It’s really hard. So in the end it matters did the movie work did it tell a good mystery? That matters more than “was it perfectly faithful to the text?”.
Sarah	Teresa you mentioned a second book. So, does that mean that you are continuing in this project?
Teresa	Yes, and in fact, we hope that your listeners will be able to help us with this project because we are working on the international Agatha Christie She Watched. As it turns out, we have a few foreign films in Agatha She Watched but there are many, many, many more. And as Bill is able to collect them with English subtitles, we are watching them. We have lots and lots of French we have one Italian we would like more of the Russian but it doesn’t look like we’re going to get them. We’ve got ah the Swedish series with Sven Hjerson. I hope I’m saying his name right. We have a lot of Indian films coming up, some more Japanese. But there are so many Agatha Christie adaptations that if any of your listeners have access to them—with English subtitles—we would like to know. And I think Bill sent to you for your show notes the list of foreign films, which ones we have and which ones we don’t. And if you were able to provide a DVD or a lead to watching some of the other Japanese films which are truly stellar or some of the other Russian ones. It’s amazing what a good job the Russians do. We’ll put you in the acknowledgments and we’ll give you a copy of the trade paperback to express our gratitude for giving us another Agatha Christie
Teresa	But it’s been really amazing seeing how different they are. It’s a great project. And it shows how universal Agatha Christie is and at the same time how she can adapt to suit whatever the local audience wants to see. So yes, that’s the project that we’re in the throes of right now is the international Agatha Christie She Watched. I particularly would like if somebody can send it to us Ms. Ma, Nemesis which is Miss Marple in Korea. It’s a um like a 20 episode Tv series and we would really like to see it.
Sarah	Well hopefully one of our listeners will have a lead for you.
Teresa	That would be great.
Brook	So, Teresa. share how our listeners can get in touch with you or yeah.
Teresa	We’re very easy to find if you type in Peschel Press. And I will spell ‘P’ as in papa E-S-C as in Charlie ‘H’ as in hotel E-L and then Press. We pop up on Facebook. We have our own website which we update faithfully with reviews. So even though you’re not seeing the reviews. Ah um, the reviews that I’m I’m I’m posting reviews now as we watch the movies we’re on Instagram. Instagram is much more um, ah up to the minute of what we’re doing. We have a Facebook page and our website and our Instagram also list our various events. So we do public we do ah public appearances and book festivals and so forth in the Mid-Atlantic region, so somebody can come and talk to us in person. And we also have a monthly newsletter if you want to know what we’re doing. And in my newsletter I am very slowly writing direct sales for authors. So, I have one half in the newsletter is devoted to what we’re doing and then one half of my newsletter every month is devoted to how you should approach the public if you if you would like to sell your books so a lot of different ways to find us.
Brook	That’s great. Thank you.
Teresa	We do have a podcast of our own we have podcasted a lot of the Agatha Christies that the films that we watched probably just over fifty of them, I think. We started doing it towards the end of the project and um and then when we finished Agatha She Watched we stopped doing the podcast. Although we will still do a couple more of the films because they connect to the annotated. But yes, we have discussed in detail some of the films of Agatha Christie on our own podcast and again if you look for Peschel Press Podcasts you’ll be able to find those Agatha Christie films.
Sarah	Well, thank you so much for joining us today, Teresa. I think it was really wonderful hearing your near encyclopedic knowledge of Agatha Christie’s adaptations and her works and it’s been such a pleasure to to speak with you today.
Teresa	Thank you, it’s really been a great fun for us. I have learned so much about Agatha Christie. And no one has ever really done this. The last book that is about her um movies per se was published in 1996 and it was essentially a cribbed from it looks like it was cribbed from Variety magazine. And Dr. Mark Aldridge has a books about the films of Agatha Christie but I don’t know that he actually sat down and watched everything. It’s a very scholarly book. So. This is it if you want to learn about her films about her film adaptations. This is it and it was It’s been really fun. Really enjoyed it.
Brook	And it’s been so fun talking with you today. Ah, and thank you listeners for joining us today on clued in mystery I’m Brook.
Sarah	And I’m Sarah. And we both love mystery.