Sophie Gee

You know, he's a sort of, he's already making a joke about the sort of Hugh Grant type character in Four Weddings and a Funeral.

Yeah, she completely is.

And, you know, she's really overtly playing with the Christie model and the Marsh model by writing these kind of cozy stories.

A lot of the early writing has that quality of the sort of very enclosed, sort of jolly, cheery local community that's kind of disrupted by a crime.

It's got that kind of disordered world waiting to be kind of brought back into order.

So she really picks up and to some extent sort of plays with

the rules of the game that had been set up by by these other writers but always there's this edge of sort of menace and sort of simmering the simmering possibility of the darkness not being resolved is the way i would put it and i think that that's it's a subtle change but it's it becomes really important when we get to the tiger in the smoke because in that book

Well, I think I've already invoked Joseph Conrad and I kind of want to talk about the way she's picking up on these very brooding, sceptical, quite bleak novels of the late 19th century.

I think that's a really important model for her by the time we get to Tiger in the Smoke.

So from the out of the gate, she's playing with the form.

She's playing with the genre.

The other thing that she does is she's got quite an elaborate story around Campion getting married to Lady Amanda, who we see in Tiger in the Smoke, his wife, who is a sort of gorgeous redhead.

Love a redhead.

Love a gorgeous redhead.

She is very vivacious.

She's delightful.

She's charming.

She is, of course, herself.

aristocratic, which is always good.

So we've had this kind of pre-gaming with her because she's quite a lot younger than Campion.