![]() Adaptation Explanation Extrication: The killer's long and detailed confession is distilled into a five-minute long conversation.Edward Seton was guilty of killing an old woman in the original novel.It turned out that he embellished the story just for the sheer joy of watching everyone's faces react to his admission. Interestingly, Lombard's line that he was either "embellishing a story for shocking effect, or I'm the only one telling the truth in a room full of liars," indirectly references Christie's 1943 theatre adaptation inversion of this trope, where it is revealed at the end Lombard didn't actually kill the Africans (he went ahead to find help and didn't come back in time) despite admitting it after the gramophone indictment. Lombard changes from a man who abandoned his followers to starve in the name of self-preservation to one who burned a village to steal diamonds.Also, little Cyril's death at sea is now shown to be a cold and calculated murder, while in the book it was implied to be a spur-of-the-moment crime of passion. In the book, she is wracked with guilt and slowly begins losing her mind as she comes to terms with what she has done, but in the miniseries it is strongly implied to all be an act of a vicious sociopath. Vera is much more frigid and cruel than she appeared to be in the original novel.Blore and Macarthur, rather than simply sending their victims to a guaranteed death, are both shown to have actively murdered their respective victims with Blore beating his victim to death due to homophobia, and Macarthur shooting his wife's lover in the back of the head ( likely because the use of flashbacks to the actual crimes made the indirect methods less visually interesting and harder to explain).Rogers is seen abusing his wife and instead of simply withholding the medicine for his elderly employer, he smothers her with a pillow.Adaptational Villainy: Several characters are hit hard by this:.Here, her anguished flashbacks suggest that her feelings for Beatrice were romantic and she abandoned her out of jealousy. Adaptational Sexuality: The book emphasises Emily Brent's cruel sense of propriety as her motive for abandoning Beatrice.Here, he is played by Irish actor Aidan Turner, who uses his natural accent. Adaptational Nationality: Lombard's nationality is not specified in the books, but is presumably English.Armstrong is much less professional and meaner towards Vera when she accuses him of being U.N. It's not enough to save him when he tries to reason with Vera, and aptly says the killer is still on the island and hunting them. He knows Vera isn't the killer when Blore is killed while they're both outside and he told her to stay on the rocks, giving her an alibi. ![]() He also points out that he and Vera are not so different in how they killed for profit, even if Vera denies it. Adaptational Intelligence: Lombard establishes himself as a hunter who completely understands the situation they're in, compared to how it's implied he's just a pragmatic Thrill Seeker in the book.Owen specifically sought out Lombard and Vera and blows off their concerns by saying the money is good so it doesn't matter, but he isn't an outright criminal. He still isn't interested in asking why U.N. Adaptational Heroism: Morris is turned from a shady drug dealer to the owner of an employment agency.Hugo outright breaks up with her and tells her that if he had the proof, he would see her hang. Adaptational Badass: In the book, Hugo Hamilton vanished after Cyril's death and took to Drowning His Sorrows because he didn't know how to confront that his lover murdered his nephew to benefit him in the series, he stays with his sister and immediately realizes that Vera was lying at the inquest because Cyril couldn't have outrun or outswim her.This makes the rest of the survivors break down laughing, breaking some of the tension. ![]()
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