Gray Robert Brown

I'll cut this out of the episode.

F***.

Yeah, yeah, yeah, yeah.

So the moving finger, the protagonist similarly is kind of infirmed out of, well, so this is interesting.

So in The Rose and the Yew Tree, Hugh takes what little mirth he can from the fact that people will say like, oh, you were a war casualty.

And he goes, no, it was the Harrow Road.

brilliantly in the moving finger he's also implied to be a war casualty in the itv one he has a motorbike accident i thought that was an interesting point where the adaptations start to sort of almost posthumously engage but yeah it's almost like in doing so you know how when the itv marvel which is i think is fair to say not particularly popular when it adapted endless night people said why didn't you just do

Case of the caretaker.

Case of the caretaker, because Marple's in that.

It's funny how the moving finger, which they've changed a lot of, starts actually closer to the rose and the yew tree, which has never been adapted.

It's just, yeah.

That's a very good point, yeah.

But also taken at the flood, as we mentioned before, just in terms of its engagement with the point exactly at the end of the war.

And it's something that Muriel Spark does as well in The Girls of Slender Means.

There's something about, I will write on this one day because I keep talking about it, but there's something about that we can't look directly at the war.

It's like the sun.

You can't look directly at the Second World War.

The one time we do is N or M and that's...

you have something you have uh more more to say about that coming soon but but very very rarely do we look directly at the war very almost always do we skirt it and and we find petty little and party political squabbles in a in an outpost in the middle of nowhere because that's the only way we can really wrap our heads around the monumental thing that's occurred yeah

So themes, we've got themes.