logo
She might be dead, but Agatha Christie is giving writing lessons. Sort of...

She might be dead, but Agatha Christie is giving writing lessons. Sort of...

The Age05-06-2025

Creepy but vital question: if your writing tutor was the bestselling novelist of all time, and able to reveal the secrets behind writing irresistible crime mysteries while sitting at a mahogany desk wearing her trademark tweed suit and pearls, would it matter that she's dead – and that you are, in fact, looking at an eerily realistic, AI-supported video version of her?
Such questions hover around the new BBC Maestro series, Agatha Christie on Writing, a 2.5-hour online course of 11 lessons led by the author herself, even though she died back in 1976 at the age of 85. Yet here she is, staring into the camera, grey hair neatly curled, a brooch on her lapel, taking us on a time-travel journey to the 1940s to share her tips of the trade.
'I am Agatha Christie,' she announces in the course's trailer, sitting with her hands clasped after a camera has panned across a fountain pen, a magnifying glass and a cup of tea in a floral teacup on her desk. 'And this is my BBC Maestro course on writing.' It's gobsmackingly real. But Christie, who's also shown getting out of a car, sitting on a garden bench writing and wandering through
a large house, isn't entirely AI-created. Conceived with the help of Christie's great-grandson, James Prichard, the online lessons feature a real actor, Vivien Keene, who wears a wig and costumes and uses a script drawn from Christie's letters, interviews and personal writing. Nearly 100 people, including academics, researchers, hair and make-up artists, a set designer and visual-effects experts, are behind the course and the digital magic that allows Keene's moving face to be overlaid with Christie's features.
Resurrecting famous dead people via AI isn't new. Virtually Parkinson, an AI-created podcast 'hosted' by the late Michael Parkinson, features a digitally recreated version of the chat-show host's voice (derived from recordings) interviewing living celebrities. The show's technical prowess means AI Parkinson is able to analyse guests' answers and pose follow-up questions. Take AI Parky asking UK gardening expert Monty Don about what draws him back to the garden: 'It always comes back to the same thing of getting down to the ground, back to the earth,' Don says.
AI Parky: 'I find that interesting. What is it about this connection to the earth that nurtures you so profoundly?' Don, laughing: 'I think it's to do with ... the rhythms of nature ... the way things grow.'
It feels like the tip of the iceberg. In 2024, US software company ElevenLabs partnered with the estates of Laurence Olivier, Judy Garland and James Dean to use the late actors' voices as narrators for books and other text material on its Reader app. How long, then, before Jane Austen or Charlotte Brontë, quills in hand, are explaining Elizabeth Bennet or Jane Eyre? If the Queen of Mystery's 'realness' is any guide, the answer is, imminently.
'I will pass on the best advice I can from my own experiences,' Christie says, her crystalline gaze eyeing her students. 'But I should warn you, you must be serious about it if you wish to be a success.' Lenny Ann Low

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Echobelly's Sonya Madan says male Britpop stars were always 'supportive and decent'
Echobelly's Sonya Madan says male Britpop stars were always 'supportive and decent'

Perth Now

timea day ago

  • Perth Now

Echobelly's Sonya Madan says male Britpop stars were always 'supportive and decent'

Echobelly's Sonya Madan says all the male Britpop stars treated her well in the '90s. Lad culture was rife at the time, but the singer and guitarist has insisted she had a "decent experience" as a female in the white male-dominated scene - which included Oasis, Blur and Pulp and Suede - and she didn't feel personally attacked when she was compared to other female-fronted Britpop groups, such as Sleeper and Elastica. She told "I think lots of the male bands were lumped in as well, as you know, white male. Britpop acts as well. "So to tell you the truth, I think it's a bit of a lazy accusation. To a certain extent, there is some merit in it, but I think that there were more women then fronting and being in bands. And um, there are plenty of us. "Tell you the truth I don't think it was an issue. I think people like to think of it as an issue now because it's so terribly trendy to talk about women's rights and it wasn't back then. But at the same time, I don't personally believe in lifting someone up by putting someone else down." Sonya added: "Yeah, and in my experience, the boys in all the bands that I came across were really lovely and supportive and decent. "If there was difficulty, it tended to come from a music press and supposedly intelligent people who should have known better. "But as far as camaraderie with other artists, of male artists, yeah, I had a really decent experience." On' 30th anniversary tour. The group - now comprising Sonya Madanat and Glenn Johansson - achieved a No. 4 on the UK Albums Chart with their second studio album On in 1995, which featured the tracks Great Things and Dark Therapy. Echobelly will celebrate 30 years of On with a tour later this year. Echobelly's On 30th anniversary tour dates : OCTOBER 02nd Manchester – New Century Hall 03rd Leeds – Project House 04th Sheffield – Leadmill 09th Bath – Komedia 10th Coventry – HMV Empire 11th Oxford – O2 Academy 12th Southampton – Engine Rooms 16th London – Electric Ballroom 17th Brighton – Chalk 18th Swansea – Sin City NOVEMBER 05th Newcastle – The Cluny 06th Glasgow – Oran Mor 07th Stoke – Sugarmill 08th Nottingham – The Level

Don't overthink it: This silly show may be what we need right now
Don't overthink it: This silly show may be what we need right now

Sydney Morning Herald

time5 days ago

  • Sydney Morning Herald

Don't overthink it: This silly show may be what we need right now

THEATRE The Play That Goes Wrong Drama Theatre, Sydney Opera House June 24 Reviewed by CASSIE TONGUE ★★★½ It started in a 60-seat theatre above a London pub, and then took over the world. The Play That Goes Wrong – a farce about an amateur theatre troupe attempting to stage an Agatha Christie-esque murder mystery – is that rare thing in contemporary theatre: a raging commercial smash. This family-friendly show has been running in the West End for more than a decade and in Spain for almost as long, sparked a plethora of British 'Goes Wrong' TV series and specials, and has played all over the world. It's now back in Australia, wreaking havoc at the Sydney Opera House, after a buzzy 2017 debut. The Play That Goes Wrong veers wildly off script. Credit: Hagen Hopkins The show is fast-paced, silly, and engineered to wring every laugh it can out of its material: as the company tries to perform their serious murder mystery, they're contending with mislaid props, actors who don't know their lines (or can't pronounce them) and technicians too busy scrolling to land the right music cue. There are pratfalls, missed cues, and a set that's threatening to come down around the cast at any moment. Who did the murders? We find out eventually, but that's not the point: the point is the carefully scripted chaos. Originally directed by Mark Bell, overseen here by associate director Anna Marshall, and with a cast (which includes Aunty Donna's Joe Kosky) who have settled into their roles during this Australia/New Zealand tour, it's a polished piece that encourages scenery-chewing. There's so much to laugh at that it'll catch even the sourest audience member at least once, but you'll get the most out of it if you like your mayhem surface level and easily digestible. There's not much pathos behind all the comedy, meaning that existential human bent of the greatest farces is nowhere to be found. Instead, this is pure escapist comedy: a series of gags, mostly physical, designed to delight. The cleverest jokes are those feats of engineering, mechanics and rigging when the set itself 'goes wrong'; there's a collapsing set piece that adds the frisson of danger that propels farces to another level. The worst were dated in 2017 and feel ancient now, where the two women onstage are reduced to stereotypes of hysteria and jealous competition, and a moment a potential kiss between two men in the middle of a casting mishap is played for panic. Designed to add to the growing hysteria of a falling-apart production, these elements drag down the mood, more noise than joke. Am I guilty of overthinking a simple-pleasure comedy? Probably. And I don't want to discount the power this show could have to give kids (recommended for those aged eight and up) their chance to be bitten by the theatre bug, or to give audiences of any age a chance to blow off steam in an increasingly dark world by just having a reason to laugh. That's probably the best lens through which to view this play: it's a daffy, low-stakes outing that just wants you to cackle – or at least crack a smile – and get those feel-good endorphins flowing.

Don't overthink it: This silly show may be what we need right now
Don't overthink it: This silly show may be what we need right now

The Age

time5 days ago

  • The Age

Don't overthink it: This silly show may be what we need right now

THEATRE The Play That Goes Wrong Drama Theatre, Sydney Opera House June 24 Reviewed by CASSIE TONGUE ★★★½ It started in a 60-seat theatre above a London pub, and then took over the world. The Play That Goes Wron g – a farce about an amateur theatre troupe attempting to stage an Agatha Christie-esque murder mystery – is that rare thing in contemporary theatre: a raging commercial smash. This family-friendly show has been running in the West End for more than a decade and in Spain for almost as long, sparked a plethora of British 'Goes Wrong' TV series and specials, and has played all over the world. It's now back in Australia, wreaking havoc at the Sydney Opera House, after a buzzy 2017 debut. The show is fast-paced, silly, and engineered to wring every laugh it can out of its material: as the company tries to perform their serious murder mystery, they're contending with mislaid props, actors who don't know their lines (or can't pronounce them) and technicians too busy scrolling to land the right music cue. There are pratfalls, missed cues, and a set that's threatening to come down around the cast at any moment. Who did the murders? We find out eventually, but that's not the point: the point is the carefully scripted chaos. Originally directed by Mark Bell, overseen here by associate director Anna Marshall, and with a cast (which includes Aunty Donna's Joe Kosky) who have settled into their roles during this Australia/New Zealand tour, it's a polished piece that encourages scenery-chewing. There's so much to laugh at that it'll catch even the sourest audience member at least once, but you'll get the most out of it if you like your mayhem surface level and easily digestible. There's not much pathos behind all the comedy, meaning that existential human bent of the greatest farces is nowhere to be found. Instead, this is pure escapist comedy: a series of gags, mostly physical, designed to delight. The cleverest jokes are those feats of engineering, mechanics and rigging when the set itself 'goes wrong'; there's a collapsing set piece that adds the frisson of danger that propels farces to another level. The worst were dated in 2017 and feel ancient now, where the two women onstage are reduced to stereotypes of hysteria and jealous competition, and a moment a potential kiss between two men in the middle of a casting mishap is played for panic. Designed to add to the growing hysteria of a falling-apart production, these elements drag down the mood, more noise than joke. Am I guilty of overthinking a simple-pleasure comedy? Probably. And I don't want to discount the power this show could have to give kids (recommended for those aged eight and up) their chance to be bitten by the theatre bug, or to give audiences of any age a chance to blow off steam in an increasingly dark world by just having a reason to laugh. That's probably the best lens through which to view this play: it's a daffy, low-stakes outing that just wants you to cackle – or at least crack a smile – and get those feel-good endorphins flowing.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store