Podcasts about Endless Night

It was just after 2 am. Over 200 people were enjoying the freedom that Pulse, an LGBTQ nightclub, offered. They were dancing. Connecting. Singing. Embracing the beauty of being alive and being understood. But in an instant, the night changed entirely. Within just a few minutes, dozens would be dead. And over the next few hours, those who did survive would be forced to fight for their lives as they were held captive by a shooter. In part 2 of our 4-part series, we will take you minute by minute through the shooting – looking at every victim, and countless survivors, as they tried to make it through the endless night.  - Sources:https://docs.google.com/document/d/1eTYeCoYyxm58DXXdoFbHQyWHlWbcH9iKGIefFcQToW4/edit?tab=t.y2yayotxnlcb Listen to our new show, "THE CONSPIRACY FILES"!: -Spotify - https://open.spotify.com/show/5IY9nWD2MYDzlSYP48nRPl -Apple Podcasts - https://podcasts.apple.com/us/podcast/the-conspiracy-files/id1752719844 -Amazon/Audible - https://music.amazon.com/podcasts/ab1ade99-740c-46ae-8028-b2cf41eabf58/the-conspiracy-files -Pandora - https://www.pandora.com/podcast/the-conspiracy-files/PC:1001089101 -iHeart - https://iheart.com/podcast/186907423/ -PocketCast - https://pca.st/dpdyrcca -CastBox - https://castbox.fm/channel/id6193084?country=us - Stay Connected: Join the Murder in America fam in our free Facebook Community for a behind-the-scenes look, more insights and current events in the true crime world: https://www.facebook.com/groups/4365229996855701 If you want even more Murder in America bonus content, including ad-free episodes, come join us on Patreon: https://www.patreon.com/murderinamerica Instagram: http://instagram.com/murderinamerica/ Facebook:https://www.facebook.com/people/Murder-in-America-Podcast/100086268848682/ Twitter: https://twitter.com/MurderInAmerica TikTok: https://www.tiktok.com/@theparanormalfiles and https://www.tiktok.com/@courtneybrowen Feeling spooky? Follow Colin as he travels state to state (and even country to country!) investigating claims of extreme paranormal activity and visiting famous haunted locations on The Paranormal Files Official Channel: https://www.youtube.com/c/TheParanormalFilesOfficialChannel - (c) BLOOD IN THE SINK PRODUCTIONS 2026 Learn more about your ad choices. Visit megaphone.fm/adchoices

TURTLE BEACH STEALTH PRO II , le test Yohann LemoreÀ savoir► Plateformes : PC / PlayStation 4 / PlayStation 5 et Bluetooth (Switch / Switch 2 / Smartphones, Tablettes )► Constructeur : Turtle Beach► Contenu : Casque, dongle, station emetteur regarde batterie, batterie, coque de rangement► Poids : Le casque pèse environ 380g► Prix : 349.99€Crédits audioEndless Night by Karl Casey @White Bat Audio► https://www.youtube.com/watch?v=MtJ8TaHkfr0&list=RDMtJ8TaHkfr0&start_radio=1

Cynthia - Endless Night (Nardi Tribal Remix) by NAW-T-BOY

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Our investigation of who killed Jesus begins with the most obvious perpetrators: the soldiers who tortured, whipped, and crucified Christ.Big thanks to worldhistory.org for background historical information.Clips Used (Opener):The Real Meaning of the Cross - Billy Graham (https://www.youtube.com/results?search_query=the+real+meaning+of+the+cross+billy+graham); Bill O'Reilly talks about "Killing Jesus" on 60 Minutes (https://www.youtube.com/watch?v=nWEf5gheGwg&t=97s); Jesus was Innocent - important sermon clip (https://www.youtube.com/watch?v=kDGPuwmuemo); Jordan Peterson discusses the story of Christ's crucifixion on Joe Rogan Experience podcast (https://www.youtube.com/watch?v=Gzif0afjN5A&t=77s); Who killed Jesus and why? The politics surrounding his death (https://www.youtube.com/watch?v=fzIbAskEmR8&t=150s); Jesus was Innocent (https://www.youtube.com/watch?v=K6h0Jvl4q8s); Who Killed Jesus? The historical context of Jesus' crucifixion (https://www.youtube.com/watch?v=uLkD4JmTbQk&t=43s)Other Clips:“The Horror of a Roman Scourging - Rick Renner” (https://www.youtube.com/watch?v=tZIxkhIzEgE&t=651s); “Jesus Suffering and Crucifixion - A Medical Point of View” (https://www.youtube.com/watch?v=0B3kgiLxybY&t=564s); Ad Music:“Bright and Warm Horizon,” written and performed by Alex KippEpisode Music:“In the Beginning” and “Powering Up” by Salon Dijon; “Changing” by Outside the Sky; “Murmur” by Lost Ghosts; “Endless Night” by Moments; “West” by Shimmer. Licensing available by request.

Mark and Gray are reunited to discuss the working titles of Agatha Christie's Swinging works - novels, plays and short stories to boot! Recorded in a very special location this is a fun rundown and a valuable glimpse into the Queen of Crime's unique planning process!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠ChristieTime.com. Our YouTube account is @TheSwingingChristies. WESTMAPOD launches on 31 March 2026!Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.00:00:00 - Opening titles00:00:43 - Introductory chat00:03:45 - Drag naming game!00:08:07 - Work In Progress00:11:43 - Cat Among the Pigeons (1959)00:14:50 - The Adventure of the Christmas Pudding (1960)00:17:17 - The Pale Horse (1961)00:19:23 - The Mirror Crack'd from Side to Side (1962)00:25:33 - The Rule of Three (1962)00:30:49 - The Clocks (1963)00:33:47 - A Caribbean Mystery (1964)00:36:56 - At Bertram's Hotel (1965)00:38:10 - Third Girl (1966)00:41:31 - Endless Night (1967)00:44:15 - By the Pricking of My Thumbs (1968)00:50:18 - Hallowe'en Party (1969)00:51:53 - Passenger to Frankfurt (1970)00:54:04 - How to get in touch00:55:24 - Closing titles00:55:51 - CodaSolutions revealed - Cat Among the Pigeons, The Pale Horse, At Bertram's Hotel, Hallowe'en PartyTW - language quoted that some members of the traveller communities may find offensive

Endless Night Adaptation, The God of the Woods Adaptation, 28 Years Later III, Hunger Games: Sunrise on the Reaping Casting. Hosted on Acast. See acast.com/privacy for more information.

Gray and Mark are sunning themselves in Puerto de la Cruz for Tenerife's International Agatha Christie Festival! In the 1920s, Agatha came to this beautiful island to get away from it all, but even later, in the 1960s, the shadows of that dark time in her life were still evident.You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwingingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.00:00:00 - Opening titles00:00:40 - Introductory chat00:04:16 -  The Disappearance - in Agatha's own words00:24:46 - The Disappearance in Agatha's Swinging works, from Davenham to Marina Gregg00:57:22 - Next episode, how to get in touch00:59:15 - Closing titles00:59:38 - CodaSolutions revealed - Endless Night, The Disappearance of Mr Davenheim, The Dream, Third GirlTW: references to suicide, mental health crises, quoted outdated terminology, deaths and bereavements

Show NotesPromptly Written, Vol. 5Riders of the Black Cowl by Ian LewisShel SilversteinThe Institute - Stephen KingThe Institute (TV Series 2025)Endless Night by Agatha ChristieTrue Grit by Charles PortisA Farewell to Arms by Ernest HemingwayAnd Then There Were None by Agatha ChristieMurder on The Orient Express by Agatha ChristiePromptly Written Facebook Group@pwrittenpod on XPromptly Written PodcastIan LewisIanLewisFiction on Instagram@mattsugerik on XMatt Sugerik

A sheriff's chilling encounter inside LA County Hospital: flickering lights, locked wards, and something unseen in the dark. A real haunted story. The post Haunted Hospital: The Endless Night Watch first appeared on Terrifying True Stories.

ASUS ROG XBOX ALLY X , LE TEST par Yohann LemoreÀ savoir► Constructeur : Asus► Modèle : ROG XBOX ALLY X► Prix : 899€► OS : Windows 11 Home► Ecran 7” FHD (1080p) IPS, 500 nits, 16:9, taux de rafraîchissement120Hz ► SSD 1To,► RAM 24Go DDR5► GPU : AMD Radeon™ Graphics (AMD RDNA™ 3, 12 CUs, up to 2.7 GHz, up to 8.6 Teraflops)► CPU : AMD Ryzen™ AI Z2 Extreme► Connectique : 1x USB4® avec DisplayPort ™, 2.1 / Power Delivery 3.0, compatible Thunderbolt™4, 1x USB 3.2 Gen 2 Type-C® avec DisplayPort™ 2.1 / Power Delivery 3.01x lecteur de carte microSD UHS-II (supports SD, SDXC and SDHC ; UHS-I avec DDR200 mode), 1x 3.5mm Combo Audio Jack► Poids : 715 g► Dimension : 290.8 (L) x 121.5 (P) x 50.7 (H) mmCrédits audio :Endless Night by Karl Casey @WhiteBatAudio ► https://www.youtube.com/watch?v=vpci3Mt-aUY&t

Can't drift off? Join Geoffrey by the campfire for this very special rewind episode, previously only released on the premium feed. This story is a continuation of the Endless Night - the moon still hangs in the sky, and Geoffrey wakes under the stars, with the Magic of Night Falls snoozing not far from his side. Love Night Falls?

We profile one of this generation's more notable purveyors of CINEMANIA: Matt Berry, known best for his performance as Steven Toast in "Toast of London," or as Laszlo Cravensworth in the television adaptation of "What We Do in the Shadows."   LEGAL NOTICE: This is a work of parody and/or satire and should not be construed as making actual statements or allegations of fact.   Written by Ethan Ireland, Andrea Palladino, and Andy Slack Performed by Andy Slack and Ethan Ireland Caricature Illustrations by Andy Slack Comics Music by Karl Casey at White Bat Audio Tracks used: "Crystal Cola," "Echoes," "Endless Night," and "Moonlight" Incidental music and courtesy of Epidemic Sound    

Gray and Mark meet Mystery Steve who has travelled all the way from Australia! Steve has been examining the way Agatha Christie titles have been translated into other languages. Steve's project has just hit the 1960s, so we wanted to get him onto the podcast for the full lowdown. Travel the world with Gray, Mark and Steve!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwigingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.Next episode: we're going LIVE!00:00:00 - Opening titles00:00: 40- Introductory chat00:01:58 - Mystery Steve: Agatha Christie - Titles in Translation00:10;41 - Cat Among the Pigeons (1959)00:15:16 - The Adventure of the Christmas Pudding (1960)00:20:06 - The Pale Horse (1961)00:24:10 - The Mirror Crack'd from Side to Side (1962)00:27:52 - The Clocks (1963)00:31:48 - A Caribbean Mystery (1963)00:34:12 - At Bertram's Hotel (1964)00:37:23 - Third Girl (1966)00:42:24 - Endless Night (1967)00:46:13 - By the Pricking of My Thumbs (1968)00:49:48 - Hallowe'en Party (1969)0:56:37 - Passenger to Frankfurt (1970)00:57:58 - Wrap up, next episode01:00:58 - Closing titles01:02:08 - CodaSolutions revealed - The Pale Horse, The Mirror Crack'd from Side to Side, Endless Night, By the Pricking of My Thumbs

Gray and Mark head to beautiful Belfast to chat to novelist and Agatha Christie fan Jan Carson. Jan has been tackling the Troubles in her work for some time, and we want to discuss with her Christie's Troubles references in Passenger to Frankfurt, as well as Irish characters and references in other Swinging books - all the way from The Pale Horse to By the Pricking of My Thumbs!A handful of tickets are still available⁠ for our first ever live episode recording in Torquay this September as part of the International Agatha Christie Festival 2025!You can find us on Instagram ⁠@Christie_Time⁠. We are also on Bluesky at ⁠christietime.bsky.social⁠. Our YouTube account is @TheSwigingChristies. Please subscribe to the podcast so you're notified every time an episode drops!Please also consider giving us a star rating and/or reviewing us on your podcatcher of choice.Our website is ⁠ChristieTime.com⁠.The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.Next episode: we're going global… again…!00:00:00 - Opening titles00:00:47 - Introductory chat in Belfast00:02;46 - Interview with Jan Carson and discussion of Ireland in the Swinging Christies00:37;58 - The Troubles00:52:46 - Next episode, how to get in touch00:54:03 - Closing titles00:54:31 - CodaSolutions revealed! - The Pale Horse, At Bertram's Hotel, Endless Night, Passenger to FrankfurtTW: Racist and xenophobic language quoted

"God has not forgotten us, and He continues to love us beyond all measure. The clues are all around us; we just have to look for them. Where have you seen the Light of God in the darkness lately?"Leave a comment for Mary: https://incourage.me/?p=253686--The summer issue of DaySpring's Everyday Faith magazine is here! Pick up a copy today on DaySpring.com or at your local Sam's Club, Costco, CVS, Walmart, or wherever you buy magazines. We hope that this issue helps you experience and share God's love in fresh, true, and inspiring ways!The (in)courage podcast is brought to you by DaySpring. For over 50 years, DaySpring has created quality cards, books, and gifts that help you live your faith. Find out more at DaySpring.com.Connect with (in)courage: Facebook & Instagram for daily encouragement, videos, and more! Website for the (in)courage library, to meet our contributors, and to access the archives. Email us at incourage@dayspring.com. Leave a podcast review on Apple!

Mark London is the CEO and Chief Creative Officer of Mad Cave Studios. In addition to his duties as the head of one of the best up and coming indie comic book publishers out there, Mark is also a creator of his own comics. With titles like Revolution 9, Hour of of the Wolf, and […]

Endless Night #1 (01:04)Godzilla vs Avengers #1 (05:59)Battle Beast #1-2 (12:49)Free Planet #1 (19:48)Recommends (28:56)

In this episode we don't cover a dungeon but we do find another pearl, come and listen to the Endless Night chapter of the Wind Waker!

Mark London returns to the Cryptid Creator Corner for the 3rd time and he's here to discuss the Mad Cave Studios Underworld Universe and the Endless Nightcrossover event. Mark has been writing the 3 series (4 issues each) leading up to Endless Night. Revolution 9, with artist Carlos Reno, Hour of the Wolf, with artist Danilo Beyruth, and Exit City, with artist Karl Mostert (sadly Karl passed away in the latter half of 2024). Each series is a different genre. Revolution 9 is high octane action about a rogue assassin, Hour of the Wolf is supernatural horror, and Exit City is neo-noir sci-fi. Now, with Endless Night, Mark has brought all three together with artist Tom Derenick. Do you want to know how? You'll have to listen to the episode, but Mark discusses the challenges of bringing these 3 disparate stories together including finding the right tone and balance. Mark also tells Jimmy about Mad Cave Digital and gives a few hints about the future of Revolution 9, Hour of the Wolf, and Exit City. Mad Cave fans, you're going to want to listen to this episode.  Follow Mark on Bluesky Follow Mad Cave Studios on Bluesky Learn more about Mad Cave Digital Endless Night #1 From the publisher When Axel Black, an obsessive tech billionaire and head of the sinister Order of Nine, sends his operatives to Exit City in search of a dangerous mystical artifact, only a team of unlikely allies from different corners of the underworld can prevent an apocalyptic catastrophe: VELVETEEN, the elite rogue assassin hellbent on revenge; McCORMICK & MILLER, two detectives keeping peace in a lawless city; and OWEN BLACKWOOD, a monster hunter duty-bound to stop evil. But tensions are mounting, and time is running out! ENDLESS NIGHT is Mad Cave's miniseries event of Summer 2025, a genre-smashing collision of archetypal heroes by celebrated writer MARK LONDON (Battlecats, Hunt.Kill.Repeat.) and acclaimed artist TOM DERENICK (Justice League), set in the universe of dark conspiracies, hard-boiled mystery, and unnatural menace known as UNDERWORLD! Hour of the Wolf From the publisher With Owen and Jan fighting for their life in the year 1888, the children are preparing for Ellen's kidnap in the present. Time is running out and the Businessman's transaction is almost complete. Will Owen and Jan make it out alive and save Ellen, or will the Businessman claim another victim? Witness the thrilling conclusion in the final issue of Hour of the Wolf! Revolution 9 From the publisher After years as an assassin for the Order of Nine—an ancient order dating back almost 3,000 years—Velveteen has turned her back on the very organization that saved her. Tasked with the murder of otherwise innocent hacker Jasper Dean, she sets off to save his life and discover the terrible secret that marked him for death. With the entire Order after them, Velveteen and Jasper must escape their grasp and prevent them from toppling society as we know it. Revolution 9 is the first thrilling title in Underworld, an all-new universe created by Mark London (Hunt. Kill. Repeat., Battlecats, Knights of the Golden Sun). Each miniseries set within can be savored as a standalone serial, while serving as a stepping stone towards ENDLESS NIGHT, the must-read crossover guaranteed to blow your mind in 2025! PATREON We have a new Patreon, ⁠⁠⁠⁠⁠⁠⁠⁠⁠CryptidCreatorCornerpod⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you like what we do, please consider supporting us. We got two simple tiers, $1 and $3. Want to know more, you know what to do. ARKENFORGE Play TTRPG games? Make sure to check out our partner ⁠⁠⁠⁠⁠⁠⁠⁠⁠Arkenforge⁠⁠⁠⁠⁠⁠⁠⁠⁠. Use the discount code YETI5 to get $5 off your order. THE LANTERN CATALOG Created on the premise of creating light in the dark, this is the the go to resource to keep you up to date on the indy projects and the creators you love. You can find them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.thelanterncatalog.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠. Make sure to check out our sponsor ⁠⁠⁠⁠⁠⁠⁠⁠⁠2000AD⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bearded Comic Bro got to sit down and talk with CEO/CCO of Mad Cave Studios, Mark London. Mark is the writer behind the new comic event of the Summer  "Endless Night". Make sure you watch the video and check out all the links below that we mention in the videohttps://madcavestudios.comFollow Mark London on Social Media Twitter: @MarkLondonMCSInstagram: @marklondonmcs

SCRIPTURE-Ephesians 1:4-5 "He chose us in Him before the foundation of the world, that we could be holy and blameless before Him.  In love He predestined us to adoption as sons through Jesus Christ to Himself, according to the kind intention of His will."REFLECTION-RoxieMUSIC-"Still" Instrumental-"Take My Life and Let It Be" InstrumentalCONCERT FRIDAY-"Endless Night" by Jason Raize and The Lion King EnsembleWhere has the starlight gone?Dark is the dayHow can I find my way home?Home is an empty dreamLost to the nightFather, I feel so aloneYou promised you'd be thereWhenever I needed youWhenever I call your nameYou're not anywhereI'm trying to hold onJust waiting to hear your voiceOne word, just a word will doTo end this nightmareWhen will the dawning breakOh endless nightSleepless I dream of the dayWhen you were by my sideGuiding my pathFather, I can't find the wayYou promised you'd be thereWhenever I needed youWhenever I call your nameYou're not anywhereI'm trying to hold onJust waiting to hear your voiceOne word, just a word will doTo end this nightmareI know that the night must endAnd that the sun will riseAnd that the sun will riseI know that the clouds must clearAnd that the sun will shineAnd that the sun will shineSimba and I know that the night must endAnd that the sun will riseAnd that the sun will riseI know that the clouds must clearAnd that the sun will shineAnd that the sun will shine(Repeat to end)I knowYes, I knowThe sun will riseYes, I knowI knowThe clouds must clearI know that the night must endI know that the sun will riseAnd I'll hear your voice deep insideI know that the night must endAnd that the clouds must clearThe sunThe sun will riseThe sunThe sun will rise

Our heroes hit level 16, bringing even more ridiculously powerful abilities to the table. As they descend deeper, they uncover a stinking jail cell in the Pit of Endless Night. What's waiting inside?> Get ad-free listening, bonus content and support the show on Patreon today

Fresh from a stomping of the demonic rabbles, we discover who resides at the bottom of The Pit of Endless Night...> Get ad-free listening, bonus content and support the show on Patreon today

Our heroes descend into The Pit of Endless Night and begin combat against the ravaging demons.> Get ad-free listening, bonus content and support the show on Patreon today

Every January we throw out our usual rules and pick whatever the heck we want. This week, Andy selected the challenging film, Birth, for us to discuss. And then we chat about what the algorithm served us like: Squid Game season 2, Dark Side of the 90s, and The Nest.  Our bestie and former co-host, Kelley, recently put out a new album from his project, The Obliging Victims, called "Endless Night". Listen asap, it's fabulous.  Support us on Patreon! Patrons have access to the NOTLP Discord Server, weekly virtual meetups with the hosts, ad free episodes and tons of other great content. This podcast is brought to you by the Legion of Demons at patreon.com/notlp. Our Beelzebub tier producers are: Ernest Perez Jeremy, Cassie & Gamora Burmeister Jeff L Iona Goodwin Branan & Emily Intravia-Whitehead Bill Chandler Blayne Turner Monica Martinson Bill Fahrner Brian Krause Dave Siebert Joe Juvland Matt Funke Paul Gauthier “Monster Movies (with My Friends)” was written and performed by Kelley Kombrinck. It was recorded and mixed by Freddy Morris. Night of the Living Podcast Social Media:      facebook.com/notlp instagram.com/nightofthelivingpodcast youtube.com/notlpcrew https://www.tiktok.com/@nightofthelivingpodcast

Following a call to the emergency services just before 5 PM on February 22nd, 2023, the police, and paramedics from the East Midlands Ambulance Service, were dispatched to a property on Queens Park Way in Leicester. They found an elderly man lying on the kitchen floor, bleeding profusely from a deep wound to his chest. His ex-wife had witnessed the attack, and the suspect had been seen fleeing the area by several other witnesses. Still, no one knew who he was or why he had targeted 79-year-old Gerald Wickes… *** LISTENER CAUTION IS ADVISED *** This episode was researched and written by Eileen Macfarlane.Edited by Joel Porter at Dot Dot Dot Productions.Script editing, additional writing, illustrations and production direction by Rosanna FittonNarration, additional audio editing, script editing, and production direction by Benjamin Fitton.To get early ad-free access, including Season 1, sign up for They Walk Among PLUS, available from Patreon or Apple Podcasts.More information and episode references can be found on our website https://theywalkamonguspodcast.comMUSIC: Fight To The Finish by Joshua Spacht Enigma by Hill Invisible Line by Stephen Keech The Plot Thickens by Joshua Spacht Spooked by jshirts Endless Night by Moments Those Lost by Moments Unexpected Turn by Moments R Naught by Kevin Graham Sussex by Stephen Keech Mystery by Third Age Left For Dead by Wastelander SOCIAL MEDIA: https://linktr.ee/TheyWalkAmongUsSupport this show http://supporter.acast.com/theywalkamongus. Hosted on Acast. See acast.com/privacy for more information.

In this episode Bina007, Hannah, Zander and Adam discuss the 1967 romantic-thriller, Endless Night. One of Agatha’s favourite novels, and arguably the best reviewed of her later novels, Agatha writes in the first-person voice of a working class man who … Continue reading →

Most nights end with the dawn. For Pookajutsu ♥️ Catch us live every Sunday at 14:00ET on https://www.twitch.tv/rpgclinic #RPGClinic Website: http://www.rpgclinic.com/ Wiki: https://rpgclinic.fandom.com/wiki/ Discord server: https://discord.gg/kenG3xu Follow the cast on Twitter: Kate: https://twitter.com/Zen_r0b0 Elizabeth: https://www.twitter.com/elizabethaneale Jon: https://www.twitter.com/jonverrall Scott: https://www.twitter.com/shumphrey1212 An RPGClinic campaign promises committed storytelling and performances, professional tech, dynamic overlays, and info boxes to keep the system accessible to new viewers. Games swing between comedy and drama at the drop of a hat. There will be laughter. There will be tears. There will definitely be double-entendres.

Preston & Child continue their #1 bestselling series featuring FBI Special Agent Pendergast and Constance Greene, as they take a final stand against New York's deadliest serial killer: Pendergast's own ancestor…and Constance's greatest enemy. About the Author The thrillers of Douglas Preston and Lincoln Child “stand head and shoulders above their rivals” (Publishers Weekly). Preston and Child's Relic and The Cabinet of Curiosities were chosen by readers in a National Public Radio poll as being among the one hundred greatest thrillers ever written, and Relic was made into a number-one box office hit movie. They are coauthors of the famed Pendergast series and their recent novels include Crooked River, Old Bones, Verses for the Dead, and City of Endless Night. In addition to his novels, Douglas Preston writes about archaeology for The New Yorker and National Geographic magazines. Lincoln Child is a Florida resident and former book editor who has published seven novels of his own, including bestsellers such as Full Wolf Moon and Deep Storm. Readers can sign up for The Pendergast File, a monthly “strangely entertaining note” from the authors, at their website, http://www.PrestonChild.com. The authors welcome visitors to their alarmingly active Facebook page, where they post regularly.

A monster is killing people, and it is up to Erica Slaughter to put an end to the carnage in Something is Killing the Children. We review Zatanna - Bring Down the House #5 from DC Comics, Power Rangers: Across the Morphin Grid #1 from BOOM! Studios, and Exit City #1 from Mad Cave Studios. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) REVIEWS STEPHEN ZATANNA - BRING DOWN THE HOUSE #5 Writer: Mariko Tamaki Artist: Javier Rodriguez Publisher: DC Comics Cover Price: $5.99 Release Date: October 23, 2024 And now for her grand finale! Zatanna's been hunted by demons, terrorized by warring factions of magic, whisked halfway across the world by anex—always running from the past rather than daring to face it down. But when it becomes clear that the ghost that haunts her lies in the kaleidoscope of childhood memories she's tried so hard to forget, will she be able to turn back the clock to not just save herself but the very fabric of magic? [rating:3/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3YDOChR MATTHEW POWER RANGERS: ACROSS THE MORPHIN GRID #1 Writer: David Yost, Walter Jones, Steve Cardenas, Mat Groom, Nakia Burrise, Jd Sutphin, Meghan Camarena Artist:Patrick Mulholland, Anand Ramcheron, Dominike "Domo" Stanton, Tango, Paulina Ganucheau Publisher: BOOM! Studios Cover Price: $7.99 Release Date: October 30, 2024 What's better than an anthology featuring a character of each main Power Ranger color? One where each corresponding actor writes their character's story? Featuring Yellow Zeo Ranger Tanya Sloan, Black Mighty Morphin Power Ranger Zack Taylor, Blue Mighty Morphin Power Ranger Billy Cranston, the second Red Mighty Morphin Power Ranger Rocky DeSantos, and Pink Hyperforce Ranger Chloe Ashford, discover a whole host of exciting stories from every corner of the Morphin Grid! [rating:3.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/4e5AYZw RODRIGO EXIT CITY #1 Writer: Mark London Artist: Karl Mostert Publisher: Mad Cave Studios Cover Price: $4.99 Release Date: November 6, 2024 In Exit City, there's a thin line between good and evil, and Detectives McCormick and Miller are about to find out the hard way. When they come to the scene of a brutal accident, it becomes clear that the Major Crimes division was called in for a reason. With minimal evidence, McCormick and Miller must work together through a web of seedy criminals, genetic experiments, and a crooked government. But that's not the only thing standing in their way, McCormick is hiding a secret that would make anyone question his capabilities. Exit City is the third thrilling title in Underworld, an all-new universe created by Mark London which also includes Revolution 9 (launching in September) and Hour of the Wolf (launching in October). Each miniseries set within can be savored as a standalone serial, while serving as a stepping stone towards ENDLESS NIGHT, the must-read crossover guaranteed to blow your mind in 2025! [rating: 2.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3UpYLfy DISCUSSION SOMETHING IS KILLING THE CHILDREN VOLUME 01 Writer: James Tynion IV Artist: Werther Dell'Edera Publisher: BOOM! Studios Cover Price: $14.99 Release Date: May 26, 2020 IT'S THE MONSTERS WHO SHOULD BE AFRAID. When the children of Archer's Peak—a sleepy town in the heart of America—begin to go missing, everything seems hopeless. Most children never return, but the ones that do have terrible stories—impossible details of terrifying creatures that live in the shadows. Their only hope of finding and eliminating the threat is the arrival of a mysterious stranger, one who believes the children and claims to be the only one who sees what they can see. Her name is Erica Slaughter. She kills monsters. That is all she does, and she bears the cost because it must be done. You can purchase this issue via our Amazon affiliate link - https://amzn.to/3Ut7UEi CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

A monster is killing people, and it is up to Erica Slaughter to put an end to the carnage in Something is Killing the Children. We review Zatanna - Bring Down the House #5 from DC Comics, Power Rangers: Across the Morphin Grid #1 from BOOM! Studios, and Exit City #1 from Mad Cave Studios. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) REVIEWS STEPHEN ZATANNA - BRING DOWN THE HOUSE #5 Writer: Mariko Tamaki Artist: Javier Rodriguez Publisher: DC Comics Cover Price: $5.99 Release Date: October 23, 2024 And now for her grand finale! Zatanna's been hunted by demons, terrorized by warring factions of magic, whisked halfway across the world by anex—always running from the past rather than daring to face it down. But when it becomes clear that the ghost that haunts her lies in the kaleidoscope of childhood memories she's tried so hard to forget, will she be able to turn back the clock to not just save herself but the very fabric of magic? [rating:3/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3YDOChR MATTHEW POWER RANGERS: ACROSS THE MORPHIN GRID #1 Writer: David Yost, Walter Jones, Steve Cardenas, Mat Groom, Nakia Burrise, Jd Sutphin, Meghan Camarena Artist:Patrick Mulholland, Anand Ramcheron, Dominike "Domo" Stanton, Tango, Paulina Ganucheau Publisher: BOOM! Studios Cover Price: $7.99 Release Date: October 30, 2024 What's better than an anthology featuring a character of each main Power Ranger color? One where each corresponding actor writes their character's story? Featuring Yellow Zeo Ranger Tanya Sloan, Black Mighty Morphin Power Ranger Zack Taylor, Blue Mighty Morphin Power Ranger Billy Cranston, the second Red Mighty Morphin Power Ranger Rocky DeSantos, and Pink Hyperforce Ranger Chloe Ashford, discover a whole host of exciting stories from every corner of the Morphin Grid! [rating:3.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/4e5AYZw RODRIGO EXIT CITY #1 Writer: Mark London Artist: Karl Mostert Publisher: Mad Cave Studios Cover Price: $4.99 Release Date: November 6, 2024 In Exit City, there's a thin line between good and evil, and Detectives McCormick and Miller are about to find out the hard way. When they come to the scene of a brutal accident, it becomes clear that the Major Crimes division was called in for a reason. With minimal evidence, McCormick and Miller must work together through a web of seedy criminals, genetic experiments, and a crooked government. But that's not the only thing standing in their way, McCormick is hiding a secret that would make anyone question his capabilities. Exit City is the third thrilling title in Underworld, an all-new universe created by Mark London which also includes Revolution 9 (launching in September) and Hour of the Wolf (launching in October). Each miniseries set within can be savored as a standalone serial, while serving as a stepping stone towards ENDLESS NIGHT, the must-read crossover guaranteed to blow your mind in 2025! [rating: 2.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3UpYLfy DISCUSSION SOMETHING IS KILLING THE CHILDREN VOLUME 01 Writer: James Tynion IV Artist: Werther Dell'Edera Publisher: BOOM! Studios Cover Price: $14.99 Release Date: May 26, 2020 IT'S THE MONSTERS WHO SHOULD BE AFRAID. When the children of Archer's Peak—a sleepy town in the heart of America—begin to go missing, everything seems hopeless. Most children never return, but the ones that do have terrible stories—impossible details of terrifying creatures that live in the shadows. Their only hope of finding and eliminating the threat is the arrival of a mysterious stranger, one who believes the children and claims to be the only one who sees what they can see. Her name is Erica Slaughter. She kills monsters. That is all she does, and she bears the cost because it must be done. You can purchase this issue via our Amazon affiliate link - https://amzn.to/3Ut7UEi CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

A monster is killing people, and it is up to Erica Slaughter to put an end to the carnage in Something is Killing the Children. We review Zatanna - Bring Down the House #5 from DC Comics, Power Rangers: Across the Morphin Grid #1 from BOOM! Studios, and Exit City #1 from Mad Cave Studios. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) REVIEWS STEPHEN ZATANNA - BRING DOWN THE HOUSE #5 Writer: Mariko Tamaki Artist: Javier Rodriguez Publisher: DC Comics Cover Price: $5.99 Release Date: October 23, 2024 And now for her grand finale! Zatanna's been hunted by demons, terrorized by warring factions of magic, whisked halfway across the world by anex—always running from the past rather than daring to face it down. But when it becomes clear that the ghost that haunts her lies in the kaleidoscope of childhood memories she's tried so hard to forget, will she be able to turn back the clock to not just save herself but the very fabric of magic? [rating:3/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3YDOChR MATTHEW POWER RANGERS: ACROSS THE MORPHIN GRID #1 Writer: David Yost, Walter Jones, Steve Cardenas, Mat Groom, Nakia Burrise, Jd Sutphin, Meghan Camarena Artist:Patrick Mulholland, Anand Ramcheron, Dominike "Domo" Stanton, Tango, Paulina Ganucheau Publisher: BOOM! Studios Cover Price: $7.99 Release Date: October 30, 2024 What's better than an anthology featuring a character of each main Power Ranger color? One where each corresponding actor writes their character's story? Featuring Yellow Zeo Ranger Tanya Sloan, Black Mighty Morphin Power Ranger Zack Taylor, Blue Mighty Morphin Power Ranger Billy Cranston, the second Red Mighty Morphin Power Ranger Rocky DeSantos, and Pink Hyperforce Ranger Chloe Ashford, discover a whole host of exciting stories from every corner of the Morphin Grid! [rating:3.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/4e5AYZw RODRIGO EXIT CITY #1 Writer: Mark London Artist: Karl Mostert Publisher: Mad Cave Studios Cover Price: $4.99 Release Date: November 6, 2024 In Exit City, there's a thin line between good and evil, and Detectives McCormick and Miller are about to find out the hard way. When they come to the scene of a brutal accident, it becomes clear that the Major Crimes division was called in for a reason. With minimal evidence, McCormick and Miller must work together through a web of seedy criminals, genetic experiments, and a crooked government. But that's not the only thing standing in their way, McCormick is hiding a secret that would make anyone question his capabilities. Exit City is the third thrilling title in Underworld, an all-new universe created by Mark London which also includes Revolution 9 (launching in September) and Hour of the Wolf (launching in October). Each miniseries set within can be savored as a standalone serial, while serving as a stepping stone towards ENDLESS NIGHT, the must-read crossover guaranteed to blow your mind in 2025! [rating: 2.5/5] You can purchase this issue via our Amazon affiliate link - https://amzn.to/3UpYLfy DISCUSSION SOMETHING IS KILLING THE CHILDREN VOLUME 01 Writer: James Tynion IV Artist: Werther Dell'Edera Publisher: BOOM! Studios Cover Price: $14.99 Release Date: May 26, 2020 IT'S THE MONSTERS WHO SHOULD BE AFRAID. When the children of Archer's Peak—a sleepy town in the heart of America—begin to go missing, everything seems hopeless. Most children never return, but the ones that do have terrible stories—impossible details of terrifying creatures that live in the shadows. Their only hope of finding and eliminating the threat is the arrival of a mysterious stranger, one who believes the children and claims to be the only one who sees what they can see. Her name is Erica Slaughter. She kills monsters. That is all she does, and she bears the cost because it must be done. You can purchase this issue via our Amazon affiliate link - https://amzn.to/3Ut7UEi CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

Honk if you want to protect a caern. For Pookajutsu ♥️ Catch us live every Sunday at 14:00ET on https://www.twitch.tv/rpgclinic #RPGClinic Website: http://www.rpgclinic.com/ Wiki: https://rpgclinic.fandom.com/wiki/ Discord server: https://discord.gg/kenG3xu Follow the cast on Twitter: Kate: https://twitter.com/Zen_r0b0 Elizabeth: https://www.twitter.com/elizabethaneale Jon: https://www.twitter.com/jonverrall Scott: https://www.twitter.com/shumphrey1212 An RPGClinic campaign promises committed storytelling and performances, professional tech, dynamic overlays, and info boxes to keep the system accessible to new viewers. Games swing between comedy and drama at the drop of a hat. There will be laughter. There will be tears. There will definitely be double-entendres.

Things are about to erupt. For Pookajutsu ♥️ Catch us live every Sunday at 14:00ET on https://www.twitch.tv/rpgclinic #RPGClinic Website: http://www.rpgclinic.com/ Wiki: https://rpgclinic.fandom.com/wiki/ Discord server: https://discord.gg/kenG3xu Follow the cast on Twitter: Kate: https://twitter.com/Zen_r0b0 Elizabeth: https://www.twitter.com/elizabethaneale Jon: https://www.twitter.com/jonverrall Scott: https://www.twitter.com/shumphrey1212 An RPGClinic campaign promises committed storytelling and performances, professional tech, dynamic overlays, and info boxes to keep the system accessible to new viewers. Games swing between comedy and drama at the drop of a hat. There will be laughter. There will be tears. There will definitely be double-entendres.

Mark London returns! Mark London the CEO/CCO of Mad Cave Studios returns to the podcast and we have so much to discuss. Mark and I talk about some of the amazing series Mad Cave has published this past year for their 10th anniversary, as well as the announcements about Nakama Press and Joe Quesada's Amazing Comics. Mark tells me about the Battlecats Kickstarter, which you can back here until October 22nd. I was also excited to hear more about the Underworld Universe with 3 new series written by Mark, the first of which Revolution 9 is out September 25th. These 3 new series will culminate in a crossover called Endless Night in 2025. I cannot believe how much ground we covered. If you listen to this podcast on any kind of regular basis you know that I am a huge Mad Cave fan so this was a real joy to get to talk about all of these things with Mark. I really think you're gonna love this episode. Be sure to check out Mad Cave's website here: https://madcavestudios.com/ You can follow Mad Cave Studios on Twitter here: https://x.com/MadCaveStudios  Revolution 9 synopsis from the publisher After years as an assassin for the Order of Nine—an ancient order dating back almost 3,000 years—Velveteen has turned her back on the very organization that saved her. Tasked with the murder of otherwise innocent hacker Jasper Dean, she sets off to save his life and discover the terrible secret that marked him for death. With the entire Order after them, Velveteen and Jasper must escape their grasp and prevent them from toppling society as we know it. Revolution 9 is the first thrilling title in Underworld, an all-new universe created by Mark London (Hunt. Kill. Repeat., Battlecats, Knights of the Golden Sun). Each miniseries set within can be savored as a standalone serial, while serving as a stepping stone towards ENDLESS NIGHT, the must-read crossover guaranteed to blow your mind in 2025! Our episode sponsors From Within on Kickstarter From Within is a martial arts revenge graphic novel about a slave fighting his way through a deadly tournament where the rules shift at the whims of a tyrannical emperor. It's a mash-up of the high-impact action sequences of Bruce Lee's films with the paranoid thriller undercurrent found in Ed Brubaker & Sean Phillips' Sleeper series. Late pledges are enabled if you happen to hear about it after the campaign officially ends. Arkenforge Play TTRPG games? Make sure to check out our partner Arkenforge. They have everything you need to make your TTRPG more fun and immersive, allowing you to build, play, and export animated maps including in person fog of war capability that let's your players interact with maps as the adventure unfolds while you, the DM get the full picture. Use the discount code YETI5 to get $5 off your order. Learn more about your ad choices. Visit megaphone.fm/adchoices

The first epilogue of Starlost Seas is here! It's been months since the Finest helped to stop the Endless Night, since then the party has begun to try and settle normal lives for themselves... But when Hickory receives a concerning message from her mother back in Iceholme, the Finest will come together once more and travel to the deepest south of Starloss. You can get the next epilogue RIGHT NOW by supporting us on Ko-fi!

We try to break down the Trump speech as we groggily convene to discuss the Endless Night that concluded the convention—with side exchanges very much like Trump’s on Hulk Hogan, and Israel, and Hamas, and Ukraine, and the Houthis, and the Secret Service, and the Democratic coup against Biden….Give a listen.

In this episode, Wellington and Savon discuss Klay Thompson leaving for Golden State for Dallas, how the Warriors' era will be remembered and Paul George heading to Philadelphia. Next up, they discuss thoughts on OKC's great offseason moves and more free agency talk along with Kemba Walker's retirement announcement. In the second half, for their album reviews, they start with Maeta's Endless Night album, Lucky Daye's Algorithm, Boldy James, Conductor Williams' Across the Tracks and Marsha Ambrosias' Casablanca. They also discuss Season 3 of The Bear, BET Awards and Rick Ross' brawl in Vancouver. 

Welcome to Cami's Hotline! Today, I've got an incredible guest whose songs are like therapy for anyone dealing with a breakup, R&B's next big thing , the music industry new It Girl, a rising phenomenon, the one and only, MAETA, you can find her music here https://maeta.komi.io/music/Endless-Night.We'll dive into the story behind those emotional tracks, explore the tough decision to end a relationship, and chat about how music helped them cope. Plus, there's some exciting news about an upcoming EP with Kaytranada that you won't want to miss!enjoooy bb

CriminOlly joins Caroline to read this classic of American hardboiled crime fiction. Olly's YouTube channel can be found at youtube.com/@CriminOllyBlog. Tickets for Backlisted: Live on 17th July, at which Caroline will be talking about Agatha Christie's Endless Night, are available here. Caroline's new book, A Body Made of Glass: A History of Hypochondria, is out now. To find out more and get your copy, visit her website carolinecrampton.com/abodymadeofglass. Join the Shedunnit Book Club for two extra Shedunnit episodes a month plus access to the monthly reading discussions and community: shedunnitbookclub.com/join. No major plot spoilers until you hear Caroline say we are "entering the spoiler zone", at 22:06. After that, expect full spoilers. A full list of titles in the Penguin series can be found at penguinfirsteditions.com. Mentioned in this episode: — The Thin Man by Dashiell Hammett — Endless Night by Agatha Christie — Red Harvest by Dashiell Hammett — The Maltese Falcon by Dashiell Hammett — The Murder on the Links by Agatha Christie — Lord Edgware Dies by Agatha Christie — Dumb Witness by Agatha Christie — The ABC Murders by Agatha Christie — Mr Fortune, Please by H.C. Bailey — A Body Made of Glass by Caroline Crampton NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge. To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. The podcast is on Twitter, Facebook, and Instagram as @ShedunnitShow, and you can find it in all major podcast apps. Make sure you're subscribed so you don't miss the next episode. Click here to do that now in your app of choice. Find a full transcript of this episode at shedunnitshow.com/thethinmantranscript Music by Audioblocks and Blue Dot Sessions. See shedunnitshow.com/musiccredits for more details. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to season 3 of Tea & Murder! This episode is sponsored by Bond and Grace. Bond and Grace is a women-founded literary brand producing art novels, fine art, and art prints. They make incredible gifts for book lovers of all kinds! Bond and Grace is giving our readers 20% off of their art novels and prints with the code TEA20. In this episode, we talk with author Julia Seales about the gothic-style Christie novel Endless Night. Julia's first novel, A Most Agreeable Murder, was recently released to rave reviews, combining Austen and Christie into a Regency-era murder mystery, with a hefty dose of comedy. The second book in the series will be coming out soon.In discussing Endless Night, we discuss the tone of the book and how it differs from Christie's other work, the twist, and the emotional heft of the ending. Julia also talks about her own work, how to make murder funny, and what it takes to create characters you want to revisit.Read A Most Agreeable Murder.Our next book is The Clocks.Have feedback for us? We'd love to hear from you! Email us at teaandmurderpodcast@gmail.com and follow us on Instagram at @teaandmurder. Hosted on Acast. See acast.com/privacy for more information.

Welcome to season 3 of Tea & Murder! This episode is sponsored by Bond and Grace. Bond and Grace is a women-founded literary brand producing art novels, fine art, and art prints. They make incredible gifts for book lovers of all kinds! Bond and Grace is giving our readers 20% off of their art novels and prints with the code TEA20. David Morris is the author of "Collecting Christie," the newsletter and website that demystifies collecting and shares information all about the (extensive!) universe of those who collect Agatha Christie books and other items.In this episode, we discuss The Hollow, Christie's character-rich novel that explores themes of post-war England, science versus art, and loads of Easter eggs found throughout the book from how it relates to Christie's own life to Greek mythology. Plus we talk why people collect, how to start your own Christie collection, and classic covers of The Hollow.Read Collecting Christie.Our next book is Endless Night.Have feedback for us? We'd love to hear from you! Email us at teaandmurderpodcast@gmail.com and follow us on Instagram at @teaandmurder. Hosted on Acast. See acast.com/privacy for more information.

Tune in to the sixth episode of The Swinging Christies, drop everything and peace out! Mark and Gray examine the references to drugs in Agatha Christie's 60s novels, plays, films and short stories. Purple hearts for everyone! You can find us on X and Instagram under @Christie_Time. Our website is Christietime.com. The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.  Next episode: Empire  Solutions revealed! - A Caribbean Mystery, Third Girl, The Mirror Crack'd from Side to Side, Endless Night, The Pale Horse

In the fifth episode of The Swinging Christies, Mark and Gray spook each other by discussing everything from contemporary fears to olde folklore in the 1960s Agatha Christies.  You can find us on X and Instagram under @Christie_Time. Our website is Christietime.com. The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown.  Next episode: Drugs  Solutions revealed! - Hallowe'en Party, A Caribbean Mystery, The Patient, By the Pricking of My Thumbs, The Pale Horse, Endless Night, At Bertram's Hotel  TW - death of children, suicide, mental illness, outdated terms in quoted material 

Some Are Born To Sweet Delight, Others Born To Endless NightThis month we're releasing 6 more old Caper Captains Episodes originally released on patreon.com/booksboys. From next month, we'll begin Playboys Of Attica, a new series of Darkplace Dreamers, and Film Fellows archived episodes. Get our complete back catalogue plus early access to all our current shows on patreon!booksboys.com Hosted on Acast. See acast.com/privacy for more information.

In the third episode of The Swinging Christies, Mark and Gray turn the spotlight on class, inequality, society... all themes that are present and correct in Agatha Christie! You can find us on X and Instagram under @Christie_Time. Our website is Christietime.com. The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown. Next episode: Fashion Solutions revealed! - At Bertram's Hotel, The Mirror Crack'd from Side to Side, Endless Night

Jeremy SwiftTake a walk with me down Fascination Street as I get to know Jeremy Swift. You may know Jeremy from Downton Abbey, Apple TV's Ted Lasso, or the Wachowski Siblings' epic Jupiter Ascending. But you may not know that Jeremy is arguably a more talented musician, than he is an actor.Just kidding. He is superb in both endeavors!In this episode, we chat about how he came to be an actor, and some of his first roles. I mean he toured with a cabaret troupe that played shows in various prisons! Holy Moly! Of course, we discuss some of his experiences on the previously listed projects, and a couple of others. I ask him what it is like to work with his wife on set, and he spills the beans on Ted Lasso season 4!Jeremy also shares the story of why he chose to get his Sag / Aftra card, and his upcoming film: "Descendants 4: The Rise of Red". Next we get into music. Jeremy started playing music at a very early age, and we definitely dive into that aspect of his creativity. Jeremy shares stories of his punk phase, seeing The Sex Pistols live, and his thoughts on the "Oi!" movement of the late 70's. Jeremy has a new album out called "Songs of Escape and Endless Night", which is catchy as hell. We discuss a couple of the tracks from that album, and he lets me play my favorite song from it. Jeremy shares his love for David Bowie, building synthesizers with his dad, and Christo Fernandez working on Jeremy's new album.Follow Jeremy Swift everywhere.See Jeremy Swift in everything.Listen to Jeremy Swift on Spotify.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4068452/advertisement

(09:50) Justin's new album Daydreams & Endless Night(50:30) The submarine is gone.(54:00) Alien's here confirmed?(1:17:50) Doja Cat predictions?(1:35:20) I was wrong Ja Morant.... Hosted on Acast. See acast.com/privacy for more information.