Tuesday, April 14, 2026

Relentless: A Kate Preacher Thriller ~ Partners in Crime Tours Guest Post, Excerpt, & Giveaway!

RELENTLESS
The Kate Preacher Thriller Series, Book 1 
by MICHAEL MALOOF
March 30 - June 5, 2026 Virtual Book Tour

Action-Adventure / Terrorism Thriller  / Conspiracy Theory / International Crime
Published by: Golden Oak Writer's Guild, LLC
Publication Date: November 27, 2023
Number of Pages: 418

SCROLL DOWN FOR A GIVEAWAY!

------- 🕮-------

THE KATE PREACHER THRILLER SERIES: RELENTLESS

1 Relentless Kate Preacher Thriller Series by Michael Maloof
She was wrong.

When a devastating terrorist attack rips through Paris, Kate is pulled back into a deadly game she never agreed to play. The attack makes international headlines. Someone wants the truth buried. And the closer Kate gets to it, the clearer one thing becomes:
She is no longer just investigating the conspiracy.
She is part of it.

As powerful enemies close in, Kate becomes the target—hunted by forces that know how to erase anyone who asks the wrong questions. Every answer tightens the noose. Every move brings the cost closer to home.

And stopping what’s coming may demand more than she can survive.

Relentless is a ripped-from-the-headlines thriller and the explosive first book in the Kate Preacher Thriller Series. Featuring a fiercely intelligent female lead, white-knuckle action, and emotional stakes that linger long after the final page.

If you like smart, fast-paced thrillers with heart, danger, and a heroine who refuses to break, this is your next late night.

BOOK LINKS

------- 🕮-------

Praise for RELENTLESS:

"I was on edge reading this book. I cried reading this book. I can’t get the characters out of my mind." ⭐⭐⭐⭐⭐

"What a Debut! As one who devours books in this genre, I am thrilled to say this one seems more like a bestseller by one of your favorite authors." ⭐⭐⭐⭐⭐

"Taut and energetic, Relentless lives up to its name in action and suspense. An engrossing first-rate thriller."
~ DIRK CUSSLER, #1 New York Times Bestselling Author

"Michael Maloof’s RELENTLESS is a heart-pounding thriller that grabs you from the very first page and doesn’t let go until the explosive conclusion."
~ Ryan Steck, The Real Book Spy and author of OUT FOR BLOOD

Read an excerpt from Relentless:

FRIDAY, APRIL 17, THE PRESENT
6:15 AM EDT
UNDISCLOSED LOCATION

Nomad flexed his right wrist, and with the palm of his hand, eased the joystick forward. The motor on his wheelchair hummed, and he maneuvered toward the center of the workstation. This environment was his creation. The height set to accommodate his chair with room beneath to manipulate the joystick. With subtle right or left pressure on the stick, he could navigate the full semicircle desk and jump between clients and projects.

There were traditional keyboards and mice, but the layer of fine dust revealed little use. Nomad’s world was one of proprietary speech recognition technology and the pressure-sensitive controls he designed and added to his chair. His forearms, wrists, fingers, head and voice all served as system navigation and command-and-control interfaces.

A matrix of monitors, stacked three high and eight across, spanned the arc of the desk and formed his window on the outside world. As a C6 quadriplegic, what he lost in physical mobility he regained in the virtual world. He chose the name Nomad for the irony, and believed his world offered freedom, control, and safety.

Nomad scanned the monitors. His building’s security cameras, global news feeds, random engineering musings of a few MIT grads on Slack. Another monitor was hammering away on a client’s file with one of his decryption algorithms. No challengers yet on any of his virtual chess boards, and that brought him to the Frenchman, his favorite opponent.

The central monitor was a live, split-screen camera feed from the Frenchman’s Paris apartment. One feed came from the Frenchman’s laptop, and the other from the camera embedded in the smart TV. It was Nomad’s practice to plant malware on the systems of anyone in his inner circle. What began as a safety protocol became something more, and he watched and lived vicariously through his contact’s living rooms and their digital and social media lives.

Nomad glanced at the camera feed’s system clock. Twelve-fifteen. It was almost time. He hoped the apartment would be empty, but saw Francois scurrying about, preparing for the meeting. Nomad knew it was pointless, but he had to try one more time.

Francois’s laptop rang with Nomad’s encrypted call request. He watched the Frenchman approach the laptop and press cancel. Nomad tried again, and this time he watched Francois accept the call.

“I admire your determination,” Francois began, “but there’s nothing left to discuss.”

“Look, I know how it sounds, but I’m begging you to trust me,” Nomad said. “You need to leave.”

“You ask for trust, but hide in the shadows.”

“Who I am is not important. All you need to know is that your life is in danger.”

“Nonsense,” he said. “For one thing, I know who you are, but rest assured, your secret is safe with me. Why you’ve chosen this life, I will never understand, but that is your business and now you must leave me to mine.”

“Is that a threat?”

“No, no, my friend. You misunderstand,” Francois said. “This is just a promise that I will keep you out of the discussion, but Moore Industries needs to know what you found. They believe the device is impenetrable, exceeding even the capabilities of quantum computing, and with millions relying on this technology, I have no choice. There is no room for debate.”

“You’re missing the point,” Nomad said. “Tens of millions of customers is exactly why Moore will do anything to protect the NanoVault’s reputation.”

“Again with the conspiracy theories,” Francois said. “You watch too much American TV. I am a respected academic meeting with a representative of a major corporation, not the KGB.”

“I pray I’m wrong,” Nomad said.

“Au revoir, my friend.”

“Wait,” Nomad said. “Before you hang up, what makes you think you know who I am?”

“I understand some hackers have a signature, patterns of behavior, code or techniques they use, that help identify the author.”

“Yes, that’s true.”

“So do chess players.”

Nomad heard the knock at the Frenchman’s door. Francois called out to his visitor, and the call ended.

* * *

FRIDAY, APRIL 17
12:17 PM CEST (Central European Summer Time)
PARIS, FRANCE

Francois LeGrande imagined his meeting with the Moore Industries representative. They’ll want to see my research and review my findings. A lucrative offer for my work would be nice, but it would be an honor to receive one of Moore’s Distinguished Fellowships.

Francois rushed to answer the door. He never saw what the masked man pressed into his side, but the effect was immediate. His body convulsed, knees buckled, and his head struck the floor. Next came the duct tape over his mouth and around his wrists and ankles. He lay on the floor of his apartment, dazed and in pain, only half-aware of the large black boot that passed over his face.

Adrenaline surged. His heart raced. He fought to focus his thoughts. Blinked and squinted to clear his vision. He squirmed and wrestled against the restraints. Tried to call out, to scream. Nothing worked. In the futile struggle to free himself, his breathing was rapid and shallow. His vision blurred, and the room spun. Don’t pass out, he thought. Just breathe. Slow down. Listen.

From the hallway, it was difficult to know what the stranger was doing. Was Nomad right? No. Can’t be. If he was here to kill me, I’d be dead already. Then what? What does he want? His head throbbed as he thought back to the fleeting image of opening the door and looking up at the face. There was no face. Just a blur of gray and white rectangles. The man’s ball cap and hoodie obscured any chance of street cameras catching his approach to the building, and the camouflage mask stretched tight from his forehead to his neck prevented facial recognition.

Francois tried to follow the sound of the stranger’s steps. The attic apartment, converted from an 18th-century mansion, was elegant but small. While it suited the Frenchman, it took only moments to explore. He heard the wheels of the office chair as they rolled across the hardwood floor.

He’s in the bedroom.

The bedroom served as his home office. Stacks of books and papers shared his bed, and most of the floor. He pictured the stranger seated at his laptop and cursed his decision to close the connection with Nomad. If he knew, if he saw, he would call the police.

There was an odd sound. An electronic chirp beeping slowly at first, then faster and louder, then slow again. Finally, a solid tone for a moment, then silence.

Francois heard the tones of a cell phone. Too many digits, he thought. Not a local number.

“I have it,” the man said. “No, it has to be tonight. And count yourself lucky I could make this work on short notice.” There was another brief pause and then the call wrapped up. “Yes. Yes. I’ll keep it safe. Now, send me the drop site.”

American, Francois thought, and at that moment, all hope vanished. The businessman he thought might still arrive, might somehow intervene. The man he was expecting was already here. Despair wrapped him in an ice-cold blanket and he trembled. He stopped fighting back the tears and sobbed.

The American dragged Francois down the hallway and into the living room, and the tears gave way to terror when he surveyed the room. A chair from the small kitchen table was in the center. A rope stretched over the ancient oak beam that framed the ridge-line of the apartment’s ceiling, and a noose hung above the chair.

The duct tape muffled his attempts to cry out, and the masked man had little trouble setting the slight Frenchman on the chair. He slipped the noose over Francois’s head and pulled on the rope. Francois stiffened his back, lifted his chin, and gasped for air. The man kept one hand on the rope and the other drew a knife. With a flick and click, the blade locked into place, and in one sudden move he cut the tape binding Francois’s feet. He pulled the slack from the rope and Francois’s only escape from suffocation was to climb up on the chair.

The American tied the rope to the radiator, then stood directly in front of Francois and stared. The mask was disorienting, and Francois found it difficult to focus. He saw a black leather jacket and a gray hoodie. He saw dark blue jeans, and the boots. Large black boots. He could be anyone on the streets of Paris, even one of my students. What is he waiting for? What does he want?

“Let’s talk.”

The words startled him and Francois wobbled atop the wooden kitchen chair. The noose made it difficult to breathe, much less answer questions. When he raised up on the balls of his feet, he could almost take a full breath, but the old chair flexed and creaked when he moved. He knew at any moment it might collapse and he would hang.

“I’m going to remove the duct tape,” the masked man said. “I suggest you remain still. And quiet,” and he gave the rope a slight tug. “Understand?”

Francois nodded, and the stranger ripped the duct tape off the old man’s face. The Frenchman scrunched his eyes, gritted his teeth, and wrinkled his nose. Tears and snot seeped into his mustache. The American balled up the tape and noticed the collection of gray hair.

“Trust me,” he said. “Faster is better.” And then he reached into his jacket, fished out the shiny black device, and held it out for the Frenchman to see.

“Did you crack it?”

Laying in the palm of his glove was a Moore Industries NanoVault. The polished black onyx device, about the size of a woman’s lipstick, was ringed with seven combination dials that controlled access to the device’s unique properties. For the first time since the masked man crashed through his door, Francois thought he understood what was happening. He thinks I’m after the bounty. He thinks I’ve cracked the encryption.

The offer of a bounty, paid in anonymous, untraceable, and tax-free Bitcoins, intrigued cryptographic researchers and enticed the hacker denizens in every corner of the Darknet. Crack the encryption on a Quantum NanoVault, known affectionately as a portable Swiss Bank account, and you’d learn the location of 1,000 Bitcoins. What started as a clever promotional stunt became a worldwide phenomenon when Bitcoin values rose exponentially, and the bounty, still unclaimed, grew to tens of millions of dollars.

“No. No, Monsieur. I assure you, this device is worthless.”

“My client insisted I retrieve this specific device,” he said. “And paid handsomely to recover it immediately. I’d like to know why. What makes this device so valuable?”

“Please. Just take it and go.”

Francois imagined his ordeal might soon be over. He has what he came for. He can just leave.

The American slipped the device back into his pocket and glanced at his watch.

“What’s the combination?”

“It’s not locked.”

“What’s on it?”

“Nothing. I assure you, it’s completely blank,” and Francois nodded toward the laptop. “Go. See for yourself. You will see. It’s empty.”

The American took the device back to the desk, and the NanoVault connected automatically. He returned moments later.

“You’re right, it’s blank,” he said. “But if you’re not using it, why have one?”

“Research,” and Francois nodded toward the back wall. The American turned to see a lifetime of achievement and accolades. Among the faded degrees hanging on the wall were journal clippings, edges curled and fraying, a small shelf of dusty mathematics awards, and a handful of student group photos. Missing was any semblance of a life outside of academia. No wife. No family.

“Then, tell me Professeur,” he said, exaggerating the Frenchman’s academic position. “What makes this device so special?”

“Oh, but it’s not. It’s like any other. Available at any—”

The slap caught him before he could finish.

***

Excerpt from Relentless by Michael Maloof. Copyright 2023 by Michael Maloof. Reproduced with permission from Michael Maloof. All rights reserved.


------- 🕮-------

GUEST POST
BY AUTHOR MICHAEL MALOOF
We Need Characters Who Defy Expectations

I never set out to rewrite the rules of the thriller hero.

I just wanted a protagonist who felt real.

For years I had watched women in high-stakes leadership, intelligence, and security roles walk into rooms where everyone assumed they were support staff. They did not announce themselves. They did not posture. They listened. Calculated. And when the moment came, they moved with the kind of precision that leaves the loudest guy in the room blinking.

That quiet leverage—the way being underestimated becomes a weapon—stuck with me.

So when Kate Preacher stepped onto the page, I knew she was not going to be a “female Jack Reacher.” She was going to be Kate. Former CIA analyst turned digital-forensics investigator for a major Richmond law firm. Chess player. Polyglot when the situation demands. Hacker when the situation really demands.

Readers expecting the familiar silhouette of the lone, battle-hardened operator were in for a surprise.

Those stories work. They deliver velocity and clarity, and that satisfying click when the pieces fall into place. But after a while the silhouette starts to feel too familiar. The tension begins to feel rehearsed.

I did not want to swap the gender and call it progress.

Kate does not earn her seat at the table because she is invincible or because she is soft and likable. Neither approach felt true. Kate had to carry real weight—grief that does not vanish when the shooting stops, doubt that does not evaporate after the win, the private cost of always being three moves ahead in a game where the board keeps changing.

That contradiction is where the electricity lives.

She is disciplined and still grieving. Strategic and uncertain. Ice-cold under fire, yet privately wondering whether the next call she makes will cost someone she loves.

Those fractures do not weaken her. They make her human. And they make the reader feel the stakes in their own chest.

Because when a character is underestimated inside the story, the reader gets a kind of double vision. The antagonists see a woman and think easy target. We see the mind that has already mapped every exit, every lie, every weakness in the plan.

That gap is pure suspense.

No endless gunfights required when a single well-timed whisper—or keystroke—can drop the hammer.

The best characters do not announce their strength. They reveal it gradually—quietly, relentlessly—until the moment they decide the game ends now.

They surprise you without theatrics. They act not because they crave the spotlight, but because the moment demands it.

That is the privilege of this job. I get to give readers a character who challenges assumptions about power, resilience—about who gets to save the day.

All I really did was let Kate walk onto the page exactly as she is—brilliant, haunted, formidable—and watch the old expectations start to crumble.

Because the stories that stay with us are not the ones that follow the formula.

They are the ones that quietly dismantle it.

 ------- 🕮-------

AUTHOR BIO:

Michael Maloof

Michael Maloof is the author of the Kate Preacher Thriller Series—Relentless, Unstoppable, and Defiant—known for its global scope, emotional intensity, and hard-won authenticity. His novels draw readers into high-stakes worlds where intelligence, courage, and consequence collide. A lifelong adventurer, Michael has traveled to more than forty countries across six continents, experiences that deeply inform his writing. His real-world pursuits have ranged from gold dredging in Honduras and artifact hunting in Guatemala to acquiring uncut diamonds in Liberia and surviving an elephant charge in Kenya. He has also trained alongside Navy SEALs, Marine Raiders, Army Rangers, Green Berets, and the CIA—firsthand insights that lend his fiction uncommon realism and respect for the craft of service. 


------- 🕮-------
A RELENTLESS Thriller… And A Giveaway!
One winner receives a $50 Amazon Gift Card!
(US only; ends 6/7/2026)
This giveaway is hosted by Partners in Crime Tours for Michael Maloof. See the widget for entry terms and conditions. Void where prohibited.
THE KATE PREACHER THRILLER SERIES by Michael Maloof || Gift Card

Can't see the giveaway? Click Here!

------- 🕮-------

Tour Participants:

Click to visit the other tour stops for can’t-miss reviews, insider interviews, exclusive guest posts, and more chances to win!

Get More Great Reads at Partners In Crime Tours



Friday, April 10, 2026

Agatha Christie, She Watched ~ Partners in Crime Tours Guest Post, Excerpt, & Giveaway!

Agatha Christie, She Watched by Teresa Peschel Banner

AGATHA CHRISTIE, SHE WATCHED

by Teresa Peschel

Movie & Video Reference, Movie & Video Guides & Reviews, Non-Fiction
Published by: Peschel Press
Publication Date: April 7, 2023
Number of Pages: 436 pages, Paperback

SCROLL DOWN FOR A GIVEAWAY!

- - - - **- - - -

Synopsis:

Agatha Christie, She Watched by Teresa Peschel

One Woman's Plot to Watch 201 Christie Adaptations Without Murdering the Director, Screenwriter, Cast, or Her Husband

Care to match wits with Hercule Poirot? Share tea and gossip with Miss Marple? Chase spies with Tommy and Tuppence? "Agatha Christie, She Watched" will introduce you to must-see movies (and must-avoid) dogs that prove Agatha's genius depicting the hopeful and dark sides of human nature. These movies will tantalize you, mystify you, and make you laugh at the folly of humanity.

Teresa Peschel watched and reviewed 201 adaptations, from the German silent movie "Adventures, Inc." (1929) to "See How They Run" and "Why Didn't They Ask Evans" (2022). Each film was rated for fidelity to the original material and its overall quality. Each review takes up two pages and comes with six cast photos, list of major actors, and known film locations. Foreign movies with English subtitles from India, France, Russia, and Japan are included. We include eight movies in which the fictional Agatha Christie solves murder mysteries, debates Poirot, battles a space wasp (in Doctor Who), and plots to kill her husband's mistress.

“Agatha Christie, She Watched” is the only comprehensive collection of reviews about Christie adaptations. Use it to find the movies made from the novels you love, fill in your movie collection or host an Agatha Christie festival of your own.

Praise for Agatha Christie, She Watched:

"From the German silent movie Adventures, Inc. (1929) to Why Didn't They Ask Evans? (2022), she covers all of your favourites (including the One True Poirot) and some you may never have heard of! The level of detail and vast array of images is incredible."
~ Labours of Hercule podcast

BOOK LINKS

- - - - **- - - -

GUEST POST
BY AUTHOR TERESA PESCHEL
“What I look for when reviewing an Agatha Christie film”

I never intended to review movies, much less become an Agatha Christie film scholar, but here I am with two review collections published and a Jane Austen film project on the way.

I didn’t set out to become a scholar/critic. I can’t be that pretentious. I don’t obsess over cinema and its history and personalities. I loathe the pornography of violence and will turn off a film if it’s too gory. I don’t like added sex and nudity. The sole purpose of added sex is to boost the box office. It rarely improves the story. What matters to me is: Am I entertained? Did the film hold together with a satisfying conclusion?

Previously, I didn’t know how to judge a movie. Either I liked it, or I didn’t. But something happened as I watched and reviewed over 300 Agatha Christie films and TV episodes. I began taking movies seriously. I learned words like mise en scene — how a story is told through the set design and how the actors move — and what goes into the cinematography (choices in filming angles, lenses, colors, filters, etc.). I learned to sense when the pacing is off, if the editing is disjointed, or why the musical score bothers me.

I’ve concluded that there are three major factors in the success or failure of a production that act like a three-legged stool, plus one more that influences everything else.

* Cast comes first. A good actor can sell a bad script. A bland actor is a black hole on the screen.

* Second is the direction. The director oversees every aspect of the production, especially pacing and the editing. Directors are often specialists in a specific genre. Musical comedy directors don’t necessarily know how to direct thrilling mysteries.

* Third is the script. Books are not films. A good scriptwriter can boil down a complicated plot into a two-hour running time yet still cover all the important points. I accept condensing Christie’s complex plots because I’ve seen faithful adaptations that were dull. Her novels zip along; her film adaptations should do the same.

Good scripts pay attention to the source material; bad scripts rewrite the source material to make it suit the trend of the moment. That explains why they’ll rewrite a story like the ITV version of The Body in the Library and change the murderers to make the story topical and cutting-edge. The production company thought it was a good idea, even though the relationship between our lesbian murderers was so poorly set up that it came as a shock instead of as inevitable.

The change I dislike the most in an Agatha adaptation is altering names. There’s no reason to change them unless the movie is set in 1950s Japan with a Japanese cast. Otherwise? No.

Changing the murderer’s identity is trickier. It worked in Sarah Phelps’ version of Ordeal by Innocence (2018) but this tactic usually fails. Inserting Miss Marple into a non-Marple property can also work; see ITV’s version of Ordeal by Innocence (2007). But this tactic often fails, too (*cough* Endless Night).

But these three factors are always influenced by the size of the budget. If the production company can’t afford the best actor, they’ll find whoever’s available and cheap. If they can’t afford the top director who’s an expert at directing mysteries, they’ll take that guy who directed dog food commercials because he’s available and cheap. The script? Why, anyone can write a script. And if we don’t have a big budget, we’ll set the film in the current day so set design and wardrobe can buy everything needed at Wal-Mart. We’ll let California palm trees stand in for Caribbean palm trees. Budget restrictions make it easier to understand why a TV series like ITV’s Marple sets all episodes in the early 1950s.

These four points taught me that making a movie or TV show is a complicated process involving a lot of people of varying talents, ambition, and ego. So many things can go wrong that it is a surprise when the result is entertaining and touching.

Although I’ve become an amateur scholar/critic, I haven’t changed much at all. When I sit down to watch a new Agatha Christie film, I still want to be entertained. And I hope that never changes.


- - - - **- - - -


READ AN EXCERPT FROM AGATHA CHRISTIE, SHE WATCHED

Introduction

I’ve always been a fan of Agatha Christie, but not an obsessive one. I didn’t read and reread the novels. I didn’t go looking for obscure short stories. I didn’t read (and still haven’t) her Mary Westmacott novels. I treated her like most people did: She wrote good mysteries, and if they were handy, I read them.

Then Bill began the Complete, Annotated project by publishing Dorothy L. Sayers’ Whose Body?, followed by Agatha’s The Mysterious Affair at Styles. Over the years, as he annotated the next five of Agatha’s early novels, I read them carefully for possible footnotes. As I did, I paid more attention to her writing, her deft plotting, her sly sense of humor, and her ability to describe a character with a few sentences.

As I became more familiar with her novels, I realized that she’s underrated, probably because she was categorized as a genre writer. Some even consider her works cozies. Clearly, they never read Appointment with Death (1938), And Then There Were None (1939), or Endless Night (1967). I suspect that her Mary Westmacotts — which are described as romances — are anything but.

The publishing world applies labels to make it easier for bookshops to shelve their books in the store, not because they’re accurate.

In July 2020, as the world began opening up from the Covid-19 shutdowns, I was at the library, looking for a DVD to borrow. I spotted Crooked House (2017). I liked the novel, so I thought, “Why not?”

Crooked House was the second Agatha Christie film adaptation I had seen. Sir Kenneth Branagh’s Murder on the Orient Express (2017) was the first.

We needed fodder for the website (peschelpress.com) and I’d already been reviewing books, so I wrote a review of Crooked House. This reminded me that Bill was working on an annotated edition of The Secret of Chimneys. Was there a movie version? A review for the book would be nice. There was. It was an episode in a box set from ITV’s Marple.

Oookaaaay.

Having become overly familiar with Chimneys, I knew Agatha wrote it years before Miss Marple was a twinkle in her eye. But we watched it anyway. It was terrible. Bill wrote his review for The Complete, Annotated Secret of Chimneys, and I wrote mine for the website.

Since the library’s Marple DVD set included three more episodes, we watched them and I reviewed them for the website.

That’s when Bill said the fateful words that brought us here: “Let’s watch more Agatha films. You write the reviews. I’ll post them on the website, and we’ll publish them as a book.”

So here we are nearly three years later. We had no idea how big the Agatha project would become or how many films have been made for cinema and TV. Bill and I have watched more than 200 adaptations. This includes all the English-language ones we could find beginning with Adventures, Inc. (a 1929 silent movie), and many of the foreign versions too. For those, we were limited by availability and whether or not they had English subtitles. It’s criminal neglect that some of the finest Agatha Christie film adaptations in the world are from Japan, yet they’re unavailable in the West.

To my knowledge, we are the only people who’ve watched all the films. I’m definitely the only person who’s written and posted reviews for all those forgotten TV shows and kinescopes.

Along the way, I became much, much more familiar with Agatha’s writing as I had to read the novels and short stories to compare them to the films. She was cutting edge from the beginning. She invented what we call The Poirot, the practice of bringing together the suspects, explaining the clues, and fingering the criminal. It was a trope born of necessity, when her first attempt — Poirot testifying at the trial — didn’t fly with her publisher.

She began experimenting with narrative structure in 1924 with The Man in the Brown Suit. That novel has two narrators, one of them unreliable. Brown Suit is also a romantic thriller disguised as a mystery. Read the passage where Anne Beddingfeld administers to a mysterious, half-naked, sexy stranger’s wounds. This scene could be ripped from any romance novel of today (the sweet kind, not the spicy which would include far more detail). As a side note, the 1989 TV movie is very true to the text despite being turned into a contemporary.

Agatha was an innovative writer throughout her career. Her The Seven Dials Mystery (1929) is a mash-up of P. G. Wodehouse and John Buchan thrillers. Partners in Crime (1929) is a loose cycle of 16 short stories starring Tommy and Tuppence. Each short story is also a parody of a famous mystery writer, including herself! And unlike Miss Marple and Hercule Poirot, Tommy and Tuppence aged in real time, from the young, eager lovers in The Secret Adversary (1922) to retired grandparents in Postern of Fate (1973).

And what’s And Then There Were None (1939), in which 10 characters are dispatched in an entertaining manner for their sins, but a PG-rated slasher flick? As a sign of its influence, the basic plot has been lifted, the serial numbers filed off, and rewritten in dozens more novels and movies. The A.B.C. Murders (1936) is a prototypical serial killer novel.

Agatha’s innovations could fill a book and go a long way to explaining why she’s still read today.

The other reason is more subtle.

Whatever you can say about the quality of the adaptations (like The Secret of Chimneys, bleah), they keep Agatha in the public eye. Never underestimate the importance of TV shows and movies on an author’s reputation. For each person who reads, 100 people go to the movies, and a 1,000 people watch TV. Every time an Agatha Christie film is shown, people who’ve never heard of her learn she exists. Some of them search out her books and discover how good her writing is.

When a writer dies, they can vanish under the constant tsunami of books being written and published daily. Dorothy L. Sayers is a prime example. Sayers wrote at the same time as Agatha. She’s highly regarded and her books are great. But her estate, unlike Agatha’s, shows no interest in licensing her stories and novels for TV or movies. Say the phrase: “Murder at Downton Abbey,” then ask why her literary estate isn’t capitalizing on Lord Peter Wimsey, detective in the peerage and a duke’s brother.

The Agatha Christie estate does not want her writing to suffer that fate, so they license her short stories and novels. Some adaptations are excellent; some are dreadful. For a few, the only commonality between novel and film is the name. Most range in between but all have something to offer, even if it’s only great period clothes, quality acting, or English Country House Porn. Linenfold paneling! Crenelated ceilings! Parquet floors as elaborate as the finest Persian carpet!

Excuse me while I stop and fan myself.

Watching 200+ Agatha adaptations also taught me plenty about filmmaking, pacing, and soundtracks. I can now, sometimes, recognize an actor from another adaptation. I’ve enjoyed seeing how one novel can be interpreted multiple ways, resulting in wildly different films. The Pale Horse (1961) is a good example. The three films (including Miss Marple in one!) are recognizably the same story, yet they’ve nothing to do with each other. The emphasis is different, the characters different, the tone is different.

I’ve watched 13 different Poirots (including an anime version). Seven different Marples (including an anime version). Multiple Tommy and Tuppences. Each actor or actress brings something new to the character.

The foreign films demonstrate how universal she is. She wrote about dysfunctional families, mapped the class divide, noticed the lengths we go to for status and security, and found reasons for murder ranging from money to passion to safety.

Ironically, foreign filmmakers respect Agatha more than she is at home. Appointment with Death (1938) has been filmed three times, but the Japanese version is the only one that captures the novel’s cruelty and horror. The two English language versions fail, one moderately and one spectacularly. Of the four versions of The Mirror Crack’d From Side to Side (1962), only the Japanese version gives a voice to Margo Bence, one of Agatha’s most abused secondary characters. The other three versions ignore her because to face Margo Bence’s pain would mean admitting that the film business cares nothing for children unless they can be sold to make money.

We did not watch every single foreign TV episode even when they were readily available. There just wasn’t enough time. The best we could do was see enough to convey the flavor of a given series. If you want to see them, enjoy yourself! They provide very different views of Agatha and can be rewarding.

The novel that’s been adapted the most is And Then There Were None (1939). We saw ten versions, ranging from a blurry kinescope to slick studio productions with an all-star cast, so it merits its own chapter. Some versions hew to the stage play with its radically rewritten ending. Others stick to the novel, nihilism intact. Some combine the stage play and the novel, so Vera Claythorne learns who the puppet master was, begs for her life, and receives rough justice.

One final warning before you go: spoilers abound, so beware! Unlike Agatha, I don’t play fair with my reviews and hide whodunnit. Where I play fair is in telling you what I thought of them. I liked films that critics panned, and I disliked films others loved. I say why. I go down sidetracks. I enjoyed myself and I hope you will too.

So won’t you join me for an Agatha Christie Movie Marathon? You’ve got hundreds of hours of viewing pleasure ahead of you. Just remember to never accept a cup of tea you didn’t make, or take trips to lonely islands (or châteaus, or country houses) with strangers.

How to use this book

The films are organized by the starring detective. Miss Marple comes first, followed by Poirot, and Tommy and Tuppence. Next, a chapter is devoted exclusively to And Then There Were None, followed by the rest of the adaptations, and the final chapter is movies in which Agatha herself is the star.

Each chapter opens with a photo gallery showing the actors and actresses who played her detectives and characters.

There’s also an index, which is more important than it appears.

Seems logical, yes? Except that some adaptations removed Agatha’s chosen detective, turning the novel into a police procedural. When that happens, the movie is not included in the detective’s chapter. It’s included in “The Rest of the Christies”. Many of the foreign adaptations fall into this category.

Other adaptations (cough, ITV’s Marple, cough) insert a detective who didn’t exist in the novel. That’s why many standalone novels appear in the Miss Marple chapter. She’s now the star of The Sittaford Mystery, Murder Is Easy, The Pale Horse, and others. She also appears in a Tommy and Tuppence novel, By the Pricking of My Thumbs. Similarly, Margaret Rutherford snatched two Poirot novels and made them her own, so they appear in the Miss Marple chapter.

The chapters dedicated to And Then There Were None and the movies not part of a detective series are self- evident. “Agatha the Star,” however, deserves an explanation. In addition to her stories, Agatha’s life has become fodder for Hollywood. This includes the dreadful Vanessa Redgrave/Dustin Hoffman biopic Agatha (1979), a documentary that quotes from her and her work, a Doctor Who episode, and three movies that show Agatha’s exciting life investigating mysteries in a parallel universe. It focuses on Agatha, not her writing. Any relationship to Agatha’s real life should be considered coincidental. Even the documentary in this chapter is not entirely reliable.

Within each chapter, the films are organized chronologically. As you move forward in time, you’ll see changes in how a character was depicted and movie-making styles. Adventures, Inc. (1929) sets the stage. It’s the earliest Agatha film and the scriptwriter, Jane Bess, played fast and loose with the text. She led the way for hack screenwriters everywhere to rewrite Agatha’s prose.

Each review gets two pages. We chose a banner image and six photos of important cast members. I rate films by fidelity to text (or life in “Agatha the Star,” and either the play or the novel in And Then There Were None) and by the quality of the movie overall. The two ratings are separate, but they complement each other and give you a clearer understanding of what to expect.

The cast lists place detectives and police at the top. Everyone else follows in rough order of importance. We group families together to make it easier to work out relationships. Our cast lists are not comprehensive but the main characters are there.

Also note that for those foreign films which don’t name their characters from the novel, we provide that information. This was omitted when they rewrote them so much (such as Unknown (1965), the Indian version of And Then There Were None) that it would not be helpful.

At the end of the list come the film locations, or (in a couple episodes) a song list. Internet Movie Database and Agatha Christie Wiki provided most of the locations, but Bill added to that from other sources (see the bibliography). Knowing the film locations means you, dear reader, can visit the same castle as Poirot or Miss Marple.

Subtitles matter to me. We always looked for versions with subtitles as so many actors mumble or the sound quality is bad. If I can’t understand the dialog, I miss important points. Not every DVD was released with subtitles.

Fortunately, some of the older films like the Joan Hickson Miss Marples are being cleaned up for streaming. They get subtitles. But they aren’t being released as new DVDs so, no subtitles. If you can watch a streamed version, no problem. If you must use your TV and DVD player, you’re out of luck.

We had to have subtitles for the foreign films. We couldn’t see some films we wanted to (we especially regret passing up the Japanese Murder on the Orient Express) because they either weren’t available with subtitles or they weren’t available at all.

The index will help you find a specific film. This isn’t just because some novels got Miss Marple inserted, putting them into the Miss Marple chapter. Agatha’s novels were often released under different names. For example, the novel Lord Edgware Dies (1933) was released in the U.S. as Thirteen At Dinner. It’s been filmed three times, twice as Lord Edgware Dies and once as Thirteen At Dinner. But they’re all based on the same novel and the index connects them.

I list all the names, with a note as to which film it applies to. Or, as with Margaret Rutherford, the film’s name doesn’t correspond to any edition of the novel but I tell you what to look for.

The bibliography provides further reading and shows where some of my information came from.

Enjoy the book. We enjoyed watching the movies, podcasting about many of them, and writing the reviews. We want it to be used, encouraging you to watch Agatha Christie on the screen, always different but always her.

How the movies are rated

Each movie is given two ratings. Fidelity of text is exactly what it sounds. How close is the film to the original text? Sometimes, only the names match. Other films are so faithful, they’re lifeless.

Quality of movie is about the movie itself. Did everything together work as a film? Often, a very good movie isn’t faithful to the text at all (see Miss Marple in Ordeal By Innocence (2007)). If something jars about the movie, I’ll indicate it here.

The rating icons demonstrate Agatha’s many, many ways of killing. Blunt objects, poisoned cocktails, garrotes, knives, guns, stranglers, being pushed down a flight of stairs. They usually reflect the first murder in the film.

A few films, such as And Then There Were None, get five different symbols to reflect all the ways those nasty people got iced.

How to find the movies

We watched the vast majority of the films on DVD on our TV set, the one our neighbors were throwing away. You’re correct that we count our pennies.

That’s why we use our public library. If yours is like ours, it contains a surprisingly large collection of Agatha Christie films. All you have to do is get a library card to borrow them.

You may, like us, have access to more than one library. It’s worth learning what’s available in your area. We belong to our local library (the Hershey Public Library) and to our county library (the much larger Dauphin County Public Library). They often carry different titles so I always check both before moving on to the next step.

Your library is bigger than your municipality, your county, or even your state. Ask for the interlibrary loan librarian. For us, it’s Denise Philips. Denise got us all kinds of DVDs from libraries across the country. This service is usually free, as libraries are tax-supported. Ask and you may be very pleased. The interlibrary loan may take a few weeks for the requested movie to arrive, but it nearly always will.

If Denise could not get us a title, Bill would search eBay and Amazon. We bought a universal DVD player so we could play DVDs from Europe.

There were obscure kinescopes that were on YouTube, so we watched them on the computer.

There are streaming services, including Amazon which gave us access to Britbox. Dailymotion let us watch the Japanese films.

We don’t recommend skeevy pirate sites. They’re illegal, don’t pay royalties to the creators, and whatever you get will be loaded with viruses and malware and the film may be incomplete or damaged.

*** A review ***

The Sittaford Mystery (2006)

Epic expansion of Trevelyan’s life
leaves little room for a coherent
mystery for Miss Marple to sort out

Fidelity to text: 1 pharaoh’s curse

The novel was eviscerated. The murder, séance, escaped prisoner, and a few names remain. Everything else, including the murderer, were altered beyond recognition. Miss Marple resented being shoved in; she stayed defiantly offstage for long stretches.

Quality of movie: 1½ pharaoh’s curses

The scriptwriter shoved ten pounds of plot into a five-pound running length and the result is incoherence with snow.

The Review

Queue up Sir Mix-a-Lot and “Baby Got Back” and recite along with me:

Oh. My. God.
Look at that plot!

You’ll have to sit through this episode twice (at least) to understand what’s going on. This film is 93 minutes long, not long enough for all the disparate plot threads to be woven in a cohesive fashion. The film needed a minimum of another twenty minutes running time to do it justice.

But since ITV didn’t do that, you, dear viewer, will be left asking what just happened? Rewind, dammit! That’s what we did. Repeatedly. Yet there were many moments when I still can’t tell you what was going on.

The trouble starts with forcing Miss Marple into a property that was never written for her. This can work: see ITV’s By the Pricking of My Thumbs, a Tommy and Tuppence novel.

Not here. In fact, Miss Marple disappeared for long stretches of the film, doing heaven only knows what in Sittaford House while sitting out the blizzard. Maybe she was questioning the staff (we only see one servant in the mansion but there must be more), knitting, and speed-reading Captain Trevelyan’s memoirs. She certainly wasn’t at the Three Crowns Inn, inspecting the body and questioning the guests, even though most of the action takes place there.

An entirely new plot is shoehorned in, vastly expanding Captain Trevelyan’s character and backstory. Suddenly, he’s a war hero (WWI), a suspected war profiteer (WWII), an Olympic skater in between (I think; the dialog was incomprehensible at many key points), a major candidate to be the next prime minister (Winston Churchill (!) has a scene with Captain Trevelyan), and he’s a noted archeologist having discovered a major tomb in Egypt back in 1927 that made his fortune! Compared with Capt. Trevelyan, Indiana Jones was a lazy amateur.

But all this rewriting was necessary to give Timothy Dalton scenery to chew to earn his paycheck. In the novel, Captain Trevelyan exists to be swiftly murdered. He doesn’t even get one line. In the movie — since he’s Timothy Dalton — when he’s not emoting in front of us, he’s the topic of conversation by the other characters.

Which I can understand. It’s Timothy Dalton, and my goodness does he look yummy. Some men age very well and he belongs to that lucky cohort. He’s also got to be expensive so the producers made sure to get their money’s worth. Pity they didn’t spend some of their money on a better script or more film stock.

But he didn’t age that well. I had a hard time believing that virginal, lovely, dewy, eighteen-year-old Violet Willets (Carey Mulligan) fell madly in love with a man old enough to be her grandfather. I know why he did, and it’s not just because Violet resembles the woman he callously abandoned twenty-five years prior in Egypt. Violet is delicious, naïve, and believes every word he says and what man doesn’t want that? As for Violet, she didn’t come across as a gold-digger, which is the usual reason sweet 18-year-olds marry men old enough to be their grandfather. Or maybe she was one and the tacked-on ending where Violet runs off to Argentina with Emily Trefusis proves it.

Violet certainly wasn’t broken up about her husband being murdered on their wedding night. If anything, she seemed relieved. She got it all. The Trevelyan name, the inheritance, two tickets to Buenos Aires, and she didn’t have to sacrifice her sweet toothsome body to some old man, even if he was Timothy Dalton.

The Egyptian subplot was of major importance yet it didn’t make any sense. There was the paranormal aspect too, with a ghostly maiden showing up in Captain Trevelyan’s visions. Was there a curse on the gold scorpion? Was he going crazy? We’re never told. The ghost follows a different movie’s script when it appears and vanishes.

This script also doesn’t tell us how an Egyptian servant can show up in isolated Sittaford in 1949 and get hired on, no questions asked. I understand that the servant problem was bad enough that the upper crust didn’t ask as many questions as they could. But here? Really?

We know Captain Trevelyan did potentially bad things in Egypt. Yet he wasn’t suspicious when this mysterious Egyptian showed up at his door? He’d been having weird dreams about his past. He’s got a burgeoning political career which means close scrutiny of his private life. He’s supposed to be a smart man.

Add in the even more incoherent subplot about the escaped prisoner from Dartmoor prison. None of that made sense; not the purchase of the inn a year prior to the events of the story, not the backstory of how the star-crossed lovers met, not how the prisoner escaped from Dartmoor prison and found his way across the moors to be reunited with his paramour and cousin and their eventual escape to freedom.

There’s also the American war profiteer who helped Captain Trevelyan make a fortune manufacturing substandard munitions that killed more American sailors than the enemy. The American war profiteer’s personal aide-de-camp and quack doctor made even less sense. Why did the war profiteer need him around, other than as a dogsbody? There was mumbled dialog that sounded like they were both in the mafia, but it was unclear.

We also meet the incompetent government clerk who’s looking into Captain Trevelyan’s background to ensure nothing questionable is revealed to the press, thus discrediting the party. He’s not doing a very good job if Captain Trevelyan was a known associate of American war profiteers and he doesn’t know.

Then there’s Charles Burnaby. In the novel, he’s boy-reporter Charles Enderby. The name change was the first step in his complete reworking of motives and backstory. Yet we get no foreshadowing of his dramatic personal life or of his connections to the Trevelyan family.

We get almost nothing of James Pearson’s connection to Captain Trevelyan either. We get even less of a reason for Emily Trefusis to be engaged to James Pearson, boy alcoholic, other than that old standby: He’ll inherit big when Captain Trevelyan dies. Maybe that’s why Emily runs off to Argentina with Violet. She gets the money and the girl and doesn’t have to marry the boy alcoholic.

I could rant on, but you get the picture: This movie was a mess, barely suitable for Timothy Dalton fans. ITV could have saved the cost of his salary and paid for a better script. Or, they could have capitalized on Timothy Dalton and added another twenty minutes of movie, explaining all the subplots and how they connected.

General Information

Based on: The Sittaford Mystery (U.S. title: The Murder at Hazelmoor; novel, 1931)

Run time: 1 hr., 40 min. Subtitles: No

Writer: Stephen Churchett

Director: Paul Unwin

Cast

Geraldine McEwan as Miss Marple

Timothy Dalton as Clive Trevelyan
Mel Smith as John Enderby
Jeffery Kissoon as Ahmed Ghali
Laurence Fox as James Pearson
Zoe Telford as Emily Trefusis
James Murray as Charles Burnaby
Rita Tushingham as Miss Elizabeth Percehouse
Michael Brandon as Martin Zimmerman
Paul Kaye as Dr. Ambrose Burt
Patricia Hodge as Mrs. Evadne Willett
Carey Mulligan as Violet Willett
Matthew Kelly as Donald Garfield
James Wilby as Stanley Kirkwood
Robert Hardy as Winston Churchill

Film Locations

The Flower Pot Pub, Henley-on-Thames, Oxfordshire (pub exterior)
Dorney Court, Dorney, Buckinghamshire (Sittaford House interiors)

***

Excerpt from Agatha Christie, She Watched by Teresa Peschel. Copyright 2023 by Teresa Peschel. Reproduced with permission from Teresa Peschel. All rights reserved.

Author Bio:

Teresa Peschel

Teresa Peschel never planned to become a writer, nor did she plan to become an expert on film versions of Agatha Christie stories. Then, as a supportive wife, Teresa read and edited Bill’s annotations to Agatha’s first six novels. A desire to promote the books led to writing movie reviews for the Peschel Press website, which led to Bill suggesting they could publish a collection quickly. Two and a half years later, Agatha Christie, She Watched was born. This book got Teresa — and Bill as her supportive husband — an invitation to speak at the 2024 Agatha Christie festival in England.

Like Agatha Christie, Teresa reinvented herself and because of Agatha Christie, she’s become a better writer.

- - - - **- - - -

A Mysterious Little Giveaway

Two (2) winners will each receive a $25 Amazon.com Gift Card, and
two (2) winners will each receive a $25 BookShop.org Gift Card.
(US only; ends 5/17/26)
This giveaway is hosted by Partners in Crime Tours for Teresa Peschel. See the widget for entry terms and conditions. Void where prohibited.
AGATHA CHRISTIE, SHE WATCHED by Teresa Peschel |

Can't see the giveaway? Click Here!

- - - - **- - - -

Tour Participants:

Visit the other tour stops for can’t-miss reviews, insider interviews, exclusive guest posts, and more chances to win!

Get More Great Reads at Partners In Crime Tours