It’s not long before Delphine kicks thebucket, and her widowed husband marries again a year later – this time to thepoised and subservient Hermia (Kaya Scodelario). This womanis the ill-fated Delphine (Georgina Campbell), married to the London antiquesdealer Mark Easterbrook (Rufus Sewell). InMacbethian fashion, the series kicks off with three witches (but are they?)telling a woman’s future in a small cottage in Much Deeping. These are required for period dramas to stay current,especially those that have been adapted countless times, and they’re all thebetter for it.īut, similar to Dublin Murders, The Pale Horse’s approach to the horror-detective arena wields very few scares or surprises falling into a slow and unsubtlepredictability that makes the darkness something to sleep through without nightmares. Toher credit, Phelps isn’t content with a bog-standard, comfy-telly version of Christie’sworks (to the anger of some) – she loves to lash the classics with sex and blood and overall darkness. One of Christie’s stranger novels, thisstory bursts with witches, prophecies and unnerving rituals within the tinyvillage of Much Deeping, in 1961. Nowshe returns to that very local, very communal creepiness in ThePale Horse, her latest and (reportedly) final Agatha Christie adaptation. TV writer Sarah Phelps ( The ABC Murders) appears to lovethe genre, as herhit horror-detective series Dublin Murders showed last year. England’spagan past, and its implementation in the present, is a favourite subject for folkhorror movies – just look at The Wicker Man.
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